Britain's most beautiful and dramatic scenery: Landscape Photographer of the Year 2017 book

Beautiful coffee table book showcases Britain's most beautiful and dramatic scenery, from the Outer Hebrides to the white cliffs of Dover.

Stunning shortlisted and winning images from the 2017 Landscape Photographer of the Year award have been collected in the 11th annual Landscape Photographer of the Year book.

The beautiful coffee table book showcases Britain's most beautiful and dramatic scenery through the eyes of the nation's best amateur and professional photographers.

From misty lochs and remote beaches to snow-covered mountains and autumnal woods, the book captures the splendour of Britain's rural and urban landscapes, from the Outer Hebrides to the white cliffs of Dover. This book is the perfect companion for all photography enthusiasts and armchair travellers, with every image accompanied by a first-hand account of the story behind the picture.

IBTimes UK presents some of the beautiful British landscapes featured in the book, and then looks at this year's award winners.

Your view runner up: Will Milner, Durdle Door and the Milky Way, Dorset, England Will Milner/Landscape Photographer of the Year 2017

Landscape Photographer of the Year: Collection 11 (AA Publishing, £25) is out now and is available from UK bookstores and online outlets.

This year's overall winner was Benjamin Graham with a striking shot of West Wittering. He takes away a £10,000 prize and will be published with all other shortlisted and commended images in the book. Graham explains how he came to capture this beautiful image:

"East Head sits at the mouth of Chichester Channel, at the northwestern end of West Wittering beach. A decent tidal movement creates constantly shifting sand patterns and tidal pools on the extensive beach, and an open, uninterrupted western view provides some glorious seascapes and skyscapes at sundown. It is a popular location with photographers. A Tuesday evening in early October guaranteed a mostly deserted location, free from the usual weekend crowds of ramblers and dogs. Heading northwards in the twilight, along the estuary's edge at low tide, the subtlety of the sand forms caught my eye. The sun had set behind thin cloud and was 10 minutes below the horizon when I shot this image – the soft, pale light with its pastel hues casting the contours into subtle relief. As well as its minimal simplicity, I particularly like the indeterminate scale of the image. The double S-curve could be 2m long or 2,000... It was actually about 20."