In Tehran, without our digital, media-rich lives, family photo albums, with their yellowing pages and crinkling transparent plastic, remain precious family possessions.

“But when these people hit puberty, the number of photos in their family photo albums began to shrink,” Newsha says of the series. “Eventually, the pages of the second half of the albums are left blank. So I decided to make a new photo album for them, representing them as adults.”

Tavakolian’s images are often staged. She based her photography on the stories of her friends and neighbours, encouraging them to visualise how they regard their lives. In one, a young man stands defiantly in the centre of what looks like a drained, dilapidated swimming pool, the smooth walls holding him in. In another, a veiled woman tries to unpick her clothes from a thorn bush, a Western handbag in her hand, Tehran’s cityscape visible in the background. “The girl in the photo has chosen that spot because it shows how she is looking for her own place in the world. That is exactly what every one of us is doing,” Tavakolian says of the image.