Carlos Idun-Tawiah’s “Taya Man no be Lazy Man” envelops the viewer in the textured vitality of everyday adolescence in Accra.

Part of the series "boys will be boys," the photograph is a masterclass in subtle storytelling—an invitation to witness Ghanaian youth as they forge identities with equal parts determination, community, and weariness.

On a sun-dappled stairwell, two boys lean together, their textbooks open, their minds absorbed in the fluid act of learning. A yellow pencil poised in contemplation bridges thought with action, while their posture, at once casual and focused, radiates a bond strengthened by shared purpose and the gentle persistence of aspiration.

Nearby, another boy surrenders to exhaustion, his head resting on folded arms atop a pile of notebooks. This solitary figure amplifies the central theme—diligence is not always glamorous, yet it pulses beneath the surface of collective effort. The ochre and rust tones of the background wrap the trio in warmth, turning an ordinary outdoor space into a sanctuary of resilience and becoming. It is here, in this mingling of sunlight and shadow, that the photograph transcends simple documentation.

Idun-Tawiah’s signature lies in this blend of realism and lyricism, echoing his commitment to intimate, truthful depictions of African youth and their ever-evolving dreams.

The fluidity of the scene speaks to boyhood as more than bravado or play—it is tenderness, perseverance, and the hard-earned joy of forging one’s own path. The setting, humble yet radiant, signals that ambition can bloom anywhere. Through this nuanced portrait, Idun-Tawiah reclaims the narrative: these boys are architects of their futures, engaged in a generational conversation where diligence is both inheritance and resistance. “Taya Man no be Lazy Man” is, above all, a quietly triumphant meditation on youth, learning, and the communal bonds that define growing up in contemporary Ghana.