Nacogdoches Now and Then documents a project taken on by Christopher Talbot and his photography class from Stephen F. Austin State University. The project involved researching historic photographs of Nacogdoches and revisiting the precise locations. The project had two objectives: 1) make art out of history, and 2) bring history alive through art. Using source photographs dating from 1882 to the mid-20th Century, Talbot and his students had to become researchers and explorers in order to realize their objectives.Readers of this book are treated to a blending of Nacogdoches' past with present, and, using it as a model, may continue the tradition by juxtaposing their own photographic documents against time's transformation.

Nacogdoches Now and Then documents a project taken on by Christopher Talbot and his photography class from Stephen F. Austin State University. The project involved researching historic photographs of Nacogdoches and revisiting the precise locations. The project had two objectives: 1) make art out of history, and 2) bring history alive through art. Using source photographs dating from 1882 to the mid-20th Century, Talbot and his students had to become researchers and explorers in order to realize their objectives.Readers of this book are treated to a blending of Nacogdoches' past with present, and, using it as a model, may continue the tradition by juxtaposing their own photographic documents against time's transformation.

Nacogdoches Now and Then documents a project taken on by Christopher Talbot and his photography class from Stephen F. Austin State University. The project involved researching historic photographs of Nacogdoches and revisiting the precise locations. The project had two objectives: 1) make art out of history, and 2) bring history alive through art. Using source photographs dating from 1882 to the mid-20th Century, Talbot and his students had to become researchers and explorers in order to realize their objectives.Readers of this book are treated to a blending of Nacogdoches' past with present, and, using it as a model, may continue the tradition by juxtaposing their own photographic documents against time's transformation.