Shot entirely on film, Zak Waters’ Birdmen series offers a close look at the world of pigeon racing — or “fancying,” as it is widely known. The sport has long been rooted in traditional working-class life. It thrived in communities built around mines, shipyards, ironworks, and steel plants, where shifts were hard, leisure time was limited, and pride in a bird’s performance ran deep. Waters travelled across the British Isles meeting fanciers in lofts, clubrooms, and backyards, documenting a culture that has survived through routine, dedication, and shared knowledge passed down through generations.

Pigeon racing once formed part of the social fabric of Britain’s industrial towns, sitting alongside anglers’ clubs, brass bands, allotments, and Sunday leagues. It offered structure, competition, and a sense of belonging. As many of those industries declined in the late twentieth century, the sport began to shrink too. Fewer young people took it up, lofts were dismantled, and long-standing clubs closed their doors.

The men Waters photographed — the “Birdmen” — represent what remains of that world. Through them, it is possible to trace not only the decline of the industries that shaped the north and the Midlands but also the changing pace of life in communities that once revolved around shift work, shared spaces, and local tradition. Birdmen records a culture holding on in the face of modern pressures, capturing the people who keep it alive even as the wider world moves on.