David Birkitt got into the industry by running a studio and "painting things white for several years" but has steadily worked his way up since, working in NYC for six years with some of the most successful art and advertising photographers in the game and returning to the UK to help out Martin Parr and Nadav Kander. He's now set up his own agency, DMB Media, which is pitched as a creative management agency. BJP caught up with him to find out more.

BJP: On your site you state that: “DMB Media provides a collaborative, fluid approach to creative management, incorporating the increasingly diverse media available”. What does this mean in practice?

DB: The most important part is working together, on all and every project. I spend as much time as possible with each artist working on structures and ideas for projects that are brought to us and ones which we initiate ourselves, coming up with ideas and approaches, production methods, and exploring the end results. What should the work do? What does it say? How and where will the audience view it? There are many production resources available for imagery now, and having a clear image of end result will help you understand how to approach them.

BJP: Many of your artists produce books and exhibitions as well as commercial and editorial work. How do you see those two sides feeding off each other? How can you help both along?

DB: Although in daily practice there are specific requirements that need to be delivered in certain ways, I believe image makers strive to solve different problems. On one hand, they tell stories for which they are commissioned, and on the other they deliver their own stories, opinions and creativity in a finished product of their choice. Each has its own audience, interacting with one another in regards to how imagery comes or is brought into their lives. I believe that a rounded career can call for all these aspects at some point, where possible and handled in the right way, it helps the artist keep constantly evolving. dmb helps by being able to provide platforms for all these areas. We invite people to come and interact with us, whether that be through our website, or in the dmb space. We have an ongoing programme of exhibitions and talks, and are working on exciting future events.

BJP: How did you choose the photographers you’re working with? They’re quite a disparate bunch – do you think there’s an overall aesthetic and ethos to your agency or have you deliberately avoided doing that?

DB: It took me a good 15 months of meeting people, either by random paths crossing or by referrals from people I know and trust within the business, from both the commercial world and the art world of photography and imagery. I was looking for a mutual understanding of approach and agreement. This is a relationship based around a journey. Everyone within dmb brings something to the table in their own different way, either by their approach, practices and understanding of the medium and what’s possible with it, ultimately having the confidence to follow it through in the way they believe will yield the best results.

BJP: Do you plan to add any more photographers? What do you have in mind for the agency in future?

DB: There is a huge amount of talent out there but for the moment I’m happy. I have lots in mind for future regarding management plans, the space, and how they will work alongside each other. How many people are working at the agency? What roles will everyone play – for example, do you have to get in video and art specialists these days as well as commercial agents? There are ten of us including the artists; we all have roles to play. We’ve been fortunate enough to build a great network around us, which means we can access really talented people and their expertise, as they understand what we are doing and what we trying to achieve. The people involved in the business now are dramatically more diverse then they were five years ago, it’s very challenging and exciting. I’m looking forward to seeing what people from which fields will be sitting around our table five years from now.

BJP: How is the commercial photography market right now? Is it still feeling the effects of the downturn? And how is the commercial market in London in particular? Is London still as important as it once was?

DB: The market feels like its treading water. There are some really interesting projects around and I’m meeting more and more good creative people looking for new ways to approach and deliver projects. That’s also mixed with the more traditional approach with standard deliverables that everyone knows are safe and work. Creatively, both in the work, ideas and people, in my opinion London still holds up as one of the global leaders, and I believe we’ll see it get stronger and more dominant over the next three years.