Projects - Terry Nathan Photography

TERRY NATHAN
PHOTOGRAPHER __________________________________________

Light Reflection on Water Waves
© TERRY NATHAN

In nature as in life, transitions are often associated with the unknown. Seeking to understand the unknown not only drives human endeavors, but it often leads to new ways to view the world. In my project, “Realms of Transition,” I am exploring several transitional realms. These realms include the ever-moving boundary that exists between growing communities and their surrounding open spaces; the mysterious borderland between ordered and non-ordered states in fluids and its associated aesthetic qualities; and the boundaries between between ecosystems, particularly those that are under human-caused duress.

During the late nineteenth and early twentieth centuries Eugene Atget photographed Paris and its environs. He created an extraordinary body of work that explains, in the words of John Szarkowski, “the great richness, complexity and authenticity of his native culture…[Atget’s] uncompromising eye recorded…the architectural details, private courtyards, quaint shop windows, curious buildings and streets… ” It is in the spirit of Atget that I am undertaking, at the beginning of this twentyfirst century, a study of my hometown – Davis, California.

	Light Reflection on Water Waves © TERRY NATHAN
	PROJECTS
	Realms of Transition	In nature as in life, transitions are often associated with the unknown. Seeking to understand the unknown not only drives human endeavors, but it often leads to new ways to view the world. In my project, “Realms of Transition,” I am exploring several transitional realms. These realms include the ever-moving boundary that exists between growing communities and their surrounding open spaces; the mysterious borderland between ordered and non-ordered states in fluids and its associated aesthetic qualities; and the boundaries between between ecosystems, particularly those that are under human-caused duress.
	Homage to Atget	During the late nineteenth and early twentieth centuries Eugene Atget photographed Paris and its environs. He created an extraordinary body of work that explains, in the words of John Szarkowski, “the great richness, complexity and authenticity of his native culture…[Atget’s] uncompromising eye recorded…the architectural details, private courtyards, quaint shop windows, curious buildings and streets… ” It is in the spirit of Atget that I am undertaking, at the beginning of this twentyfirst century, a study of my hometown – Davis, California.