Despite the constant wave of visual and written information we receive every day, there's one video I've been thinking about since it came out. It's of two Palestinian siblings, Qamar and Sumaya Subuh, released by the Al Jazeera network. We see a journalist meeting these two young children, one carrying the other. The journalist asks them what has happened and where they are going. It turns out that one of them was hit by a car. They say they are on their way to the Bureij refugee camp or just anywhere that can help. The journalist decides to help and drives them to Bureij, where one of them carries the other. Then the clip ends. Of all the videos I've seen, this is the one I play over and over in my head.

As a photographer, I often think about the pictures I can't take. We live in a world where almost everything is documented, especially with the internet and social media. Everything is instantly shared and broadcast, especially in these turbulent times of war, genocide and more. It almost feels like nothing is off limits to be documented. I often feel that my brain and emotions are not built to consume it all at the current rate. 

When you asked me to choose just one image, it was difficult. I see so many images all the time—especially through social media—that my mind feels both full and empty at the same time. But there's one image I've only encountered on social media that has stuck with me. Every time I see it, I feel compelled to linger on it and return to it, both visually and because of its content.

I had a lot of options in my head, there's so much good stuff out there that I think about a lot. One of the first images that came to mind was from Nona Faustine's White Shoes series. I saw the series in New York at Easter and the artist took pictures, in different versions of nudity and with white shoes, of different places in New York City where there was a slave trade or places where black people were not allowed to be.

It’s funny to think back on the photographs that meant a lot to me when I was younger. Not just as a nostalgic reminiscence, but as a way to understand and remember what I saw and liked in them, compared to what I see today. I remember being five years old or so, and loving the photographs by Nick Waplington. Their plush, synthetic surfaces stood out to me. I think of families eating ice cream in rooms with carpeted floors and patent-leather sofas in different shades of pink. The drama and chaos and abundance of people and stuff—which I have now come to see as the images of struggling British working-class homes in the 90s—filled me at the time with an unsettled combination of envy and fascination.

You send me an old image of yourself somewhere in the West, near where I grew up. A squinting, grinning child, facing the sun, feeding a lamb, one hand holding on to a metal string fence. There is text written over the image. An invitation. But my mind is distracted by another image, and we text about it. I'm leaning on the hope that in our knowledge of the fickle status of images, of their bending, we still have a capacity that can help us think, even when we're distracted.

The image that occupies my mind these days is a photograph of the editorial team behind the feminist magazine Spare Rib. We see them posing on the windowsill of their office in Soho, London. The photograph was taken in 1973 by a photographer whose name we no longer know. Like many other self-published and independent publications, Spare Rib was built on friendship, collaboration, and countless hours of unpaid labor.

‘How's your hair?’ my friend and I text each other during hectic times when we haven’t been in touch for a while. We exchange messages about different styles—flat or high—without needing further explanation. We both know what frizzy means. My last reply to her included a picture of a king at Versailles, his hair big and fluffy. I hope we keep asking each other this question until our hair is white and beyond. I think of my friend when I see a picture of the Tunga twins tangled in each other's hair. The image is inspired by a supposed Nordic myth about conjoined sisters who caused trouble in their village.

There are lots of images and impressions from this year's annual exhibition, but Else Marie Hagen's puppy is the one that stays with me after the visit. All the way up the stairs to the sky-lit halls of Kunstnernes Hus we are guided by Asmaa Barakat's work. With golden letters she asks: please be kind... لطيفا كن... please be kind... لطيفا كن... please be kind...

I've been thinking about which picture to choose this weekend and it's hard. There are so many, some that are actual images that you've seen, and then some that you wonder if they're just a memory or something that someone told you about. I've narrowed it down to one that's really stuck in my head over the last few years. It's a photograph I saw in a book when I was in Newfoundland, it was a book about the history of the province of Newfoundland and Labrador, a black and white photograph of a house floating in the bay.

What do we do with the silent ones? The ones who still say ‘It's complicated.’ What do they think when they're on social media? Have they muted the reels? Can't they see what's happening?

They could get this book. Maybe these colourless, seemingly neutral images of trees would help them to see the true horror. It would be hard to find more violent and beautiful images. From Irus Braverman's text I learn that: ‘Of the 211 reported incidents of trees being cut down, set ablaze, stolen or otherwise vandalised in the West Bank between 2005 and 2013, only four resulted in police indictments.’ This has been allowed to happen. Just like the daily bombings.

There is a guy trying on the piece, his girlfriend is filming it. He laughs a lot, a little too loudly, as he tries to work out how best to wear it. It's just a bag, my friend whispers. I look over at a film at the other wall just as a small piece of the artist's black clothing is cut off at the breast, revealing a white silk slip. Why cut there and not more politely where the others have cut small pieces?

She has been called the Pippi Longstocking of the art world, my colleague informs me as we enter Joan Jonas: Good Night Good Morning at MoMA. In the first room there is an image from Jones Beach Piece (1970), a person standing on a ladder going up to nowhere, wearing a white hockey mask and holding a large mirror to reflect the sun back to the spectators. I thought about this gesture, involving the audience, throughout the show. In many of the rooms, Jonas’ playfulness shines through and the performances evoke a sense of community. Several of the videos involve students with whom Jonas has worked, and I wish that I could have been one of them.

This. Lying on a mattress, kissing. The poster on the wall trying to hold on. The uncertain installation, the importance of inclusion. There is so much in it. The statement of having the person portrayed on the wall. How this couple may or may not have discussed politics before they just had to lie down to get closer. At the top of the poster, a drawing. The face of a person looking down on them. The grapes in the corner, envious like me.

While the documentary image is haunted by the decisive moment, the studium calls for a more refined and contemplating dialogue. An unfinished message that seeks context in order to be read. Walker Evans seems to hold a special photographic gaze. Jean-Paul Sartre describes a person entering a bar and gazing through the locale, but as soon as the eye catches another eye, the gaze disappears, the magic is broken.

This is a film still from the Tony Hancock movie The Rebel. A film about the accidents that lead to success in an art career and of ambition winning out to talent before once again giving way. It is a film about the ‘value’ of art, about patronage, about marketing art and about art’s frustrations as a vocation and career. 

There is a face, I can see the eyes. The green and fragmented screenshot is divided into five. At the top I see a light switch. Then there is a green stripe covering the top of the face. Then I see the eyes looking back at me, before another green stripe. The bottom of the photograph shows the shoulders of the person the photographer is talking to. It looks like a woman in a halter top; it could be summer. Taysir Batniji’s book Disruptions shows screenshots of video calls with his loved ones in Gaza, taken between 2015 and 2017.

This photograph by Berenice Abbott from her astonishing project Changing New York (1935–39) has been my desktop background for the past five years, as it reflects my interests in the urban landscape, biography, affect, paratexts, composition, and technique. As with other photographs I love, I secretly wish I’d made it, despite the temporal impossibility.

I am thinking of the video work Voir la mer by Sophie Calle which I saw yesterday at the Musée national Picasso-Paris. Six videos of Istanbul residents seeing the sea for the first time in their lives. They are filmed from behind, looking at the sea. Then they turn around. One of them is very self-conscious in the beginning, looking into the camera.

During the ceasefire in Gaza, the Palestinians were told it was forbidden to go to the sea.