Lake Volta, the largest man-made reservoir on earth, spreads across roughly half of Ghana. Where dense forest once stood, skeletal trunks now break its surface. Fishing sustains the communities along its shore, and it is among the boys drawn into that work that Jeremy Snell made the photographs gathered in *Boys of Volta*, published by Setanta Books in 2020.

The book holds fifty-five images across 108 pages, clothbound at 20 by 25 centimetres, with an essay by the writer Nii Ayikwei Parkes. Snell’s approach is patient and close: he follows the fisher boys he met at the lake, attending to both the beauty of the water and the harder fact that thousands of children labour in this industry, many of them trafficked. That tension — between the lake’s strange, luminous presence and the conditions of the work — gives the sequence its weight. Parkes’s contribution adds a literary voice to a body of reportage concerned with named lives rather than spectacle.

For collectors, the book matters less for scarcity than for what it attempts: a sustained photographic engagement with a specific place and its labour economy, made by a photographer who returned to his subjects rather than passing through. Ten percent of profits are donated to the International Justice Mission, which supports criminal-justice partners in identifying victims and pursuing prosecutions. The clothbound design suits the material, and the pairing of photographs with an essay places the work in a documentary tradition that takes both image-making and its consequences seriously.