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January Shot by X-T2 | 50-140mm F16 180 seconds | ISO 100 Location | Brixham, Devon Filters | Lee 10 stop Neutral Density and 0.6 soft graduated Neutral Density

February Shot by X-Pro2 | 35mm F16 1024 seconds | ISO 200 Location | Harwich, Essex Filters | Lee Big and Little stoppers combined and 0.6 soft graduated Neutral Density

March Shot by X-T1 | 56mm F16 50 seconds | ISO 100 Location | Weston Super Mare, Somerset Filters | Lee Little Stopper Neutral Density

April Shot by X-T1 | 55-200mm F22 30 seconds | ISO 200 Location | Whitstable, Kent Filters | 3 stop pro glass Neutral Density

May Shot by X-T1 | 10-24mm F16 20 seconds | ISO 100 Location | Bassenthwaite, Cumbria Filters | Lee Little stopper Neutral Density and 0.6 soft graduated Neutral Density

June Shot by X-Pro1 | 14mm F16 180 seconds | ISO 200 Location | Beachy Head, Sussex Filters | Lee Big Stopper Neutral Density and 0.6 hard graduated Neutral Density

July Shot by GFX50S | 32-64mm F10 205 seconds | ISO 100 Location | Petts Level, Sussex Filters | Lee Big Stopper plus 0.6 pro glass Neutral Density and 0.6 soft graduated Neutral Density

August Shot by X-T1 | 56mm F8 220 seconds | ISO 200 Location | Portsmouth, Hampshire Filters | Lee Big Stopper Neutral Density and 0.6 soft graduated Neutral Density

September Shot by X-T1 | 10-24mm F18 170 seconds | ISO 200 Location | Whitby, North Yorkshire Filters | Lee Little Stopper Neutral Density and 0.6 Hard graduated Neutral Density

October Shot by X-T1 | 50-140mm F5.6 70 seconds | ISO 200 Location | Bewl Water, Kent Filters | Lee Big Stopper Neutral Density and 0.6 soft graduated Neutral Density

November Shot by X-T1 | 35mm F8 205 seconds | ISO 200 Location | Charmouth, Dorset Filters | Lee Little Stopper plus 3 stop pro glass Neutral Density and 0.6 hard graduated Neutral Density

December Shot by X-T1 | 50-140mm F14 210 seconds | ISO 200 Location | New York City Filters | Lee Big Stopper plus 10 stop Neutral Density

Solace

At a time when we may appear more connected than ever, we have become disconnected from the wider world. We focus on the small screen in our hands. We are obsessed by our perceived popularity, using the images we share for likes and comments to boost our egos that take a battering as we battle through each day.

Our lives are dominated by incredible noise. We are distracted from what is important and real by a virtual cacophony of demands and pressures that invade our every available moment.

I fell victim to this and became defined by my role as Picture Editor of The Times. I made myself ill - very ill - giving my all to a machine that had ceased to fulfil my soul and yet devoured every ounce of it. I lost my identity trying to keep everyone happy - swallowed up by meetings, deadlines and the need to prove I was worthy of my job and place in life.

In the end I chose to walk away from most of the materialistic values we crave but lost the rest through my life choices.

Depression created white noise in my head; to relieve myself of this internal pain I sought calm through my work. The images I create are solely for me, taken in a single emotional, spiritual and mental moment. I became a part of the place in which I work, completely present and awake to everything around me.

It took me a long time to realize that to be content you need to stop, be still, let the quietness of life and open spaces drown out the noise and materialism of the wider world.

In the quietness of my photography, I find peace and tranquility.

For me photography is the experience of standing with the wind in my face, feeling the sunlight warm my body, tasting the salt spray from the sea, breathing in the aroma of the land and feasting on the changes in colour as the sun moves through the sky.

The total connection of being outdoors, feeling the spirituality of the place with clarity and isolation is what drives my photography.

This time of clarity is healing. The moment is complete solace.