Tag: photography

"Wind" by Lesley Nowlin from Being a Twin: Elements

“Wind” by Lesley Nowlin from Being a Twin: Elements


Austin fine art photographer Lesley Nowlin was chosen as one of four artists for the upcoming exhibition: Face Value opening September 6th at Davis Gallery. Lesley will be showing images from her series in progress: Being a Twin.

Lesley, a twin herself, has been exploring that relationship through her photographic work using traditional, modern, and alternative photographic processes. Lesley shared this intimate project with my twin and me when she photographed us a few months ago.

How did you get started in photography?

My dad played around with photography when I was young, as well as my grandfather and great grandmother.  When I was about 14 I remember my dad teaching me how to read a light meter on a Leica rangefinder.  After that I started photographing sports and yearbook events during high school.  I learned how to develop and print silver gelatin in a tiny darkroom at Westwood High School.  After going to the Maine Photographic Workshop during my junior year of high school I then chose to attend the Hartford Art School at the University of Hartford.  That was when I fell in love with art.



Tell me about your interest and education in alternative processes.
During my time at HAS we were required as art majors to learn all the mediums.  I really enjoyed printmaking and drawing, although I was never really good at it.  Back in my college years we were on the brink of transitioning into digital, but everything we did was still very much produced in the darkroom.  I loved getting my hands dirty and watching the image appear on the paper.  Creating something from scratch and the printing process itself is the true art quality I love so much.  However, that being said, I’ve turned to digital shooting, yet stuck with printing platinum and silver.  With the format I’m creating in this current work the digital image is much easier to work with.  I still love film for documentary and street photography, but I’m not currently working in that environment.
I loved getting my hands dirty and watching the image appear on the paper.
After opening a photography gallery in 2009-2011 I realized everything I fell in love with from other photographers was created with the alternative process,  whether it was silver gelatin, salt, cyanotype, or platinum.  After closing the gallery I decided to pursue the alternative process for myself and studied at Maine Media Workshop with Brenton Hamilton.  He taught me how to print platinum, as well as other processes, using digital negatives.  I’ve been working on it for the last 2 years on my own trying to master the craft, although I have a long way to go.
How long have you been working on the twin series and how has the meaning evolved since you started working on it?

I started the series actually when attending the Maine Media Workshop back in 2002 (for the second time). I had an instructor, Stella Johnson, who helped me create a project for myself.  We had to plan shooting our subject(s) before we got there.  I wanted to work on something for that week that was closely related to me.  Up until that point I was more of a street photographer, and liked to travel and “shoot what I saw” on my international adventures. At the beginning of the “Being a Twin” project I was trying to connect in my own relationship with my twin by studying the connections of other twins and how they related to each other. I learned a lot with my 10 years of photographing twins.  About two years ago I drew on the fact that I loved art so much, and wanted to start making more narrative and composed pieces. I’m drawn to painters like Gustav Klimt and John Waterhouse, and photographers like Robert and Shana ParkeHarrison and Luis Gonzales de Palma.  Their ability to create a surreal environment with the human subject, very spiritual and ethereal, really drew me in.  I wanted to incorporate that direction in my own work, while still making it mine.  I’m photographing the twins (mostly female) in environments of nature to show their spiritual connection, as well as a tension and ease between the two.  Then, I’m printing platinum on vellum and lining it with composition gold, silver or copper leaf.  Printing the negatives separately and then putting it back together creates a broken and mosaic like quality.  It’s very fun to do, as well as time consuming.  No pieces will be the same, and that’s what I enjoy most about it.  I’ve also been learning a lot as I continue to make different pieces.  My process has been getting more precise as I go along.
I was trying to connect with my own relationship with my twin by studying the connections of other twins and how they related to each other.
How did you come to be a part of the Face Value exhibition at Davis Gallery?

Bill Davis is a very kind person who I’ve known for a while.  I knew the curator of the show, Christina Martell, who left shortly after, and Susannah Morgan took over.  They were putting together a show of different portraiture work, and asked me to participate.  At first I was going to make individual platinum prints of my original “Being a Twin” work.  But then I grabbed the opportunity to show my new vision of where I wanted this work to go, and that’s when “Being a Twin: Elements” was created.  Ultimately, I’m very happy I’m able to have a show with a group.  It gave me the chance to start this new work at a slower pace.
What are your future plans for photography? Do you have any other photo projects that you are working on?

My goal is to create 15-20 pieces for a solo show somewhere.  The most challenging part of owning a photography gallery in Austin, for me, was that I didn’t know how to create clients.  I had a ton of photographers asking to show their work, and I didn’t have enough time or finances to do it.  After about a year I realized owning a gallery was not the career for me.  Creating my own work was more important.   It would be wonderful to have a photography gallery in Austin, but I don’t feel there’s a market here for it, which is unfortunate.  There are many great photographers in Austin and only a few places to exhibit.  Davis Gallery is kind enough to have a show specifically for photography and mixed media, but most art galleries in Austin view the medium of photography as an entirely different art form, and maybe aren’t willing to go out of their comfort zone to learn more about it.  More than likely I’ll have to go outside of my hometown to find an exhibition space for “Being a Twin: Elements”.  Really hoping someone will want to show it!


You’ll definitely want to see these pieces in person. Face Value closes October 18th, 2014.

I met Maureen at the first ILTP Dallas happy hour and later had the wonderful opportunity to sit down with her over coffee. She’s full of energy and joy and is a powerhouse at representing some high quality photographers coming out of Dallas.

Mindy Byrd ©

Mindy Byrd ©

What is the Photo Division? How did it start and come to be where it is now?

The Photo Division was really borne out of me wanting to be a champion for creatives. I am the middle person, the connection between art and commerce. The Photo Division represents four amazing photographers that bring such a diversity of insight experience and inspiration: Jeff Stephens, Thom Jackson, Claudia Grassl, and Mindy Byrd. I am fortunate every day to get up and go to work with them.  I started the agency five years ago. The name is a play on an industry term of “divisions,” many other agencies represent other talents: hair and makeup, stylists, etc. – but we focus solely on photographers– hence The Photo Division.
No day is boring and every day is a whole day.  I wake up and hit the ground running .
So four is sort of the most manageable number? 
For me, it is the magic number right now.   Everyone deserves time and attention, I can’t be overextended. They deserve it and should have it. There is also this ripple effect, so that it is never just the photographer I am dealing with — each photographer relationship branches out into another connection of clients and crew , etc. There are definitely days when one photographer needs more than another, but I want to make sure if that photographer calls, I can talk to them.  No day is boring and every day is a whole day.  I wake up and hit the ground running .
Is it easy to keep client connections outside of Dallas?
It’s a matter of staying connected and constantly building new clients. But I have to say, the Dallas market is positively thriving and keeps us quite busy! We have so many great clients here . Sometimes I barely have time to raise my head above the city limits ! But I just came back from three shoots in New York City and client visits there. I met the art buyers at Victoria’s Secret and their building is huge and a bit imposing with security, but when I finally got through, the art buyer greeted me wearing Converse High Tops. I love it! 
Thom Jackson ©

Thom Jackson ©

If you are a photographer looking for an agent, my advice is to play the field a bit before you settle down, you know, date around.
What all do you do?  You represent the photographers but what does that entail?

We take it basically from beginning to end.  We are the ultimate crowd pleasers– trying to keep everyone happy, clients and photographers. It’s like planning a fantastic dinner party, you have to serve the right food, invite the right people and then make sure they are all seated next to the right people– except that it is not an occasional event– we do it every single day! 

If you are a photographer looking for an agent, my advice is to play the field a bit before you settle down, you know, date around. Interview several agents before you choose one. You have to like and trust that person because ideally this will be a long term relationship. They are representing you and your work, so understanding your vision and style is paramount.

Claudia Grassl ©

Claudia Grassl ©

Be genuine and have your own voice. There should be a gravitational pull as to why the client would choose your work other than the 5 other portfolios they are looking at .
Do you have any advice for photographers who want to work commercially or editorially?
Great photographers are like great musicians . Music , art and photography all cross over for us at TPD .  If you are a musician you must know how to play your instrument to create what you intend for people to hear.  If you are a photographer you must also know your craft in such a way that your vision shines through . One is hearing and one is seeing . Show me the way . Be genuine and have your own voice. There should be a gravitational pull as to why the client would choose your work other than the 5 other portfolios they are looking at . Your images need to speak for themselves . You are always going to morph a little bit as you live your life, but figure out a base first and evolve from there.
Jeff Stephens ©

Jeff Stephens ©

Catherine Couturier, raised in Crockett, Texas, got into trouble when she was seven years old. When she came across one of Lewis Hine’s photographs, Girls Spooling, in her social studies textbook, she was moved to tear the page out and take it home. So was born her love for photography.

Couturier went on to study art history at Trinity University in San Antonio, and spent her junior year abroad at Parsons in Paris, France, where she met her husband. The Couturiers eventually moved to Houston, Texas and Catherine started working at the John Cleary Gallery.

After John’s untimely death in 2008, Catherine accepted the torch and rebranded the gallery under her name. It is now the only AIPAD member gallery in Houston and one of only four in the state of Texas.

“John used to say what makes a photograph great are two things, drama and mystery.”

Couturier continues the tradition of showing great photography under Cleary’s influence but adds her additional interests in alternative and modern processes and contemporary art. She says that as collectors are getting younger and technology more advanced, digital photography is more widely accepted as collectible fine art.

Catherine Couturier in her Gallery, Photograph by Amy V. Cooper

Catherine Couturier in her Gallery, Photograph by Amy V. Cooper

“John used to say what makes a photograph great are two things, drama and mystery.” Catherine says, adding that for her, “there has to be something that you don’t see, something special coming from the eye of the artist.”

Some of Catherine’s favorite photographs that she owns are Twilight Swim by Maggie Taylor, one of her favorite photographers, and Broken Plate, Paris by André Kertész.

Who are some of your favorite Texas Photographers?

Libbie J. Masterson. Libbie is such an all around talent. She paints, she photographs, she’s a jewelry designer, she creates outdoor installations (like her recent lotus exhibit for the Asia Society in Hermann Park), and does set design both here and in New York. Libbie is also the curator of the Houston Center for Photography. I’ve known her for years and have always loved her work, so it was a no-brainer for me when she was looking for a new gallery.”

When asked about Texas photography, Couturier wishes there was a better visual identity for the state beyond Big Bend, border towns and cowboys. “I think with more photographers moving here we will get a better photographic representation of what it means to live in Texas.”


What is your advice for photographers wanting to catch the attention of galleries in Texas (and beyond)?

If you want your art to be your job, treat it like a job.

“I have two main pieces of advice. Number one: if you want your art to be your job, treat it like a job. Be professional. Be polite. Be on time. Treat your interactions with gallery owners, potential collectors, and fellow artists the same way you would a job interview. Number two: most galleries list their submission guidelines on their websites (we do here.) Follow them, and, just as importantly, peruse their websites to see if your work is a good fit before contacting them. I get so many submissions from painters who haven’t bothered to look at my website at all, which is very obviously all photography. Don’t just spam all the galleries as it wastes everyone’s time and your resources.”

What are your favorite places to see photography in Texas?

“In Houston, there are the three big ones, of course: The Museum of Fine Arts, HCP (Houston Center for Photography), and Fotofest. In Austin, the Harry Ransom Center has a phenomenal collection, including the archives of our artist, Elliott Erwitt, and the first permanent photograph, created in 1826 or 1827 by Niépce.”

Any thoughts on the future of the fine art photography in Texas?

“The fine art photography market is only on the way up in Texas. When I first began selling photographs in 1999, I had to answer a lot of very basic questions that I don’t have to answer as often anymore. The overall level of knowledge and appreciation of photography has grown exponentially.”

Describe the perfect night out in Houston.

“Ooh, the perfect night out in Houston! I made a joke recently that, were I single, my idea of a great first date would be for a guy to pick me up and take me to buy a book before going to dinner. That way, I’d have something to read in case the date was a dud. But really, the perfect night out in Houston for me would be to go walk through the Menil and Rothko Chapel, maybe have a beer at The Hay Merchant, then go to dinner at Kata Robata or Oxheart. Oh! Or go see a play at the Alley Theatre. Or go down a pontoon boat in the bayou and see the Waugh Bridge bats. Or go to a Dynamos game with my husband and son. Or go to a midnight show at River Oaks Theatre. There are just too many great things to do in Houston these days!”

Couturier attends two to six photography fairs every year and finds most of her artists through word of mouth and the occasional submission. She is also an advisor to the Houston Center for Photography. If you get the chance to meet Catherine, don’t miss it, she can tell you a lot about photography and her passion is contagious.

Catherine's son Andre's height marked on the wall at the Catherine Couturier Gallery, Photograph by Amy V. Cooper

Catherine’s son Andre’s height marked on the wall at the Catherine Couturier Gallery, Photograph by Amy V. Cooper

Andre, her son, 7, grew up in the gallery and really enjoys visiting museums and art exhibitions with his mom. No word yet on if he has torn anything out of her many photography books.

Visit the Catherine Couturier Gallery website here: http://www.catherinecouturier.com/.

Excited to announce the Photographs Do Not Bend Gallery’s newest exhibit!

William Eggleston: His Circle & Beyond

Opening Reception: September 7th, 2013 5 to 8pm

William Eggleston, Southern Environs of Memphis (Guide), Dye Transfer, 1972
This image is copyright to the artist, courtesy of PDNB Gallery, Dallas, TX

September 7th through November 9th, 2013

Featured Artists: Peter Brown, William Christenberry, William Eggleston, David GrahamWilliam Greiner, Birney Imes, Bill Owens, Stephen Shore, Neal Slavin, and Alec Soth.

Address: 1202 Dragon Street, Ste. 103 Dallas, Texas 75207

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