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Being asked to make a programme telling the story of 2013 through the images that best defined it can seem like a daunting prospect given the sheer number of pictures we take.

Any initial concerns I had were doubled after our first meeting with a broadsheet picture editor who told us he was confronted with over 25,000 photographs every day and those were just the professional pictures.

When you factor in the rise of smartphone images, social media and , 2013 is apparently expected to produce more photographs than every previous year in the entire history of photography combined.

So how do you go about whittling them down and choosing those moments that perfectly encapsulate the news events of the year?

Alongside director Fatima Salaria (, , ), I started with the newspapers, reading them daily and meeting the dedicated teams of picture editors that scour the wire services deciding what to put on the front page.

In time we began to build a picture of the year based on the visually arresting work produced by professional photojournalists.

But we were keen to reflect the growing number of newsworthy images taken on smartphones by members of the public who were in the right place at the right time.

This was the year in which the best camera was the one you had in your hand and saw ordinary people capture and tweet images that would appear on the front pages of newspapers and be broadcast around the world.

We wanted to start the film with one of these smartphone pictures and chose a grainy image from the which showed the fireball moments after the tragic accident.

The picture was published on the front page of the Evening Standard but the photographer was identified only by an obscure Twitter handle and the paper didn鈥檛 know who he was.

Getting no reply from our persistent tweets we concluded that he never used his account.

We decided to abandon modern technology and go the route of traditional journalism, door knocking in Vauxhall, leaving messages and attempting to triangulate the location of his flat based on the image itself.

Five weeks later our efforts paid off and the photographer Craig Jenner got in touch and agreed to be interviewed.

On the other side of the world, grandparents Tim and Tammy Holmes and their five grandchildren were forced to flee their home due to the .

As they clung to a jetty for survival, Tim had the presence of mind to capture the moment on his smartphone thinking that no-one would believe their story.

One of the hardest stories to choose a picture for was the royal baby.

Hundreds of photographers gathered outside the Lindo Wing of St Mary鈥檚 Hospital in July waiting for weeks to catch a glimpse.

With tens of thousands of almost identical pictures how could we choose one that stood out?

We initially thought it was an impossible task but as we asked photojournalists and picture editors to pick their favourite one photographer鈥檚 name emerged.

John Stillwell is a royal photographer with decades of experience and had negotiated an exclusive spot several floors above the press pack.

This elevated position allowed him to capture the clearest pictures of the baby and make the front page.

Throughout the programme, we鈥檝e sought to reveal how these extraordinary pictures were taken and look behind the headlines to see why these moments have captured our imaginations.

2013 was the year we became used to seeing famous faces like Oscar Pistorius and Chris Huhne in court.

It saw the funerals of Nelson Mandela and Margaret Thatcher, and was a year in which we were confronted with the shocking and disturbing images that came out of the Westgate shopping mall attack in Nairobi, the killing of Lee Rigby and the Boston Marathon bombing.

2013: Moments in Time tells the story of a remarkable year in pictures and we hope this film will prove that the image remains as powerful as ever in the modern world.

Luke Korzun Martin is the assistant producer of the programme 2013: Moments in Time.

2013: Moments in Time is on 麻豆官网首页入口 Two at 9pm on Friday 20th December.