Power of Print Documentary

– [Woman] That’s Nick. That’s Grandpa, though
you can’t see his face, your great grandpa. (relaxing music)
– Look at this, look at this print. That’s a hundred years old. Look at (mumbles). – [Woman] There’s your
grandpa, so there’s my parents with my two kids and a cousin Amy. – This is a print that my
mom and her sister found. They were showing me
all of these old prints and I instantly grabbed
this one, for some reason and I just had to take it with me. This is the photo of Steven Gurney, my great, great uncle,
who was born in 1890, in Lane County, Oregon. I’ve had this on my desk for six months and I would just stare at it, because, I would see facial features that I could see in my
grandfather, or my great uncle. It was one of those pictures
that I just kept with me a lot. And then, one day, and I don’t know why I didn’t do this sooner, on the front of the photo, you can see the address and the name of the studio. So I decided to google it and I actually just googled the address to see where this was and it brought up the street view and the
studio was still in business. I couldn’t believe it. So this just got my mind turning about this studio in the south of France, two hours south of Bordeaux,
out in the middle of nowhere and what it must have been like for my great, great uncle
to be marching through the south of France, during World War I. The fact that I could
hold this print in my hand that was created a hundred years ago and see parts of myself in the photo and see this wonderful photography and have a story of my great, great uncle, here in the print. (relaxing music) So the project just started
with my street photography. I just love street photography. It gives me a great way to just unwind and try to tell a story about a place and the people that live there. And I ended up hearing a
bunch of great stories. Of course, Lee Majors would make it in. Uh, well one of the things
that can make a great shot, is some really upset people. Like these guys were not happy
I was taking their photo. But, it captures just the
vagabonds in Portland. Got the ambulance in the background. There’s just so much going on. This is Rob. I told him I was doing the gallery, he said he might make it. So I might see him tonight
and make sure he’s coming to the gallery, but this
guy, it’s a guy that, he obviously has some drug problems. But he had a job and
ended up quitting his job to take care of his grandparents, because they weren’t doing well. And his grandparents raised him, because his mom was in and out of prison. Then, his grandparents passed away and once they passed away,
all of the funeral costs and everything, ate up all
the money just like that and then he was out on the street. So he’s pretty much on
the street all the time, busking for money. Alice. Oh Alice breaks your heart. Alice has a four year
degree from a university and I don’t quite know all of her story, she didn’t wanna tell me everything, but I think she was
married, or her husband took care of everything and then after the husband passed away, I think all she has is
her social security. So she makes up the
difference in social security by begging on the streets. So a good example of
someone who did everything they were supposed to do and
still, it didn’t work out. So, I guess this show is my chance to take all of these stories that I’ve collected and kind of pass them
off, out into the world. Because, just like back
in the day and the caveman and you know, pre-written words, stories are passed down by sharing them. So, hopefully as I share them, they’ll catch on and hopefully people will take some of these
prints and take them with them and then take those stories
and move them, beyond me. It’s amazing what we have here,
just in Portland, you know? People ask me about where
they would like to go do street photography and I
do a little bit in Tokyo, going back with my family,
a little bit in London. But I could do street
photography until I die in Portland and never run
out of things to capture. – So when we remember something, when we see a picture, or smell a smell, or whatever that takes us back, to that original memory, having something in front of you, that
you can physically touch, means so much. Because when we recall something, all the details that we paid attention to in the original memory,
kind of come flooding back. Having something that serves
as that sort of memory link, between now and the past, having something you can
actually reach out and touch has a much more powerful impact, because touch, touching a photo now, will remind you of the
touch at the time, right? And it might trigger this sort of cascade of different senses that bring back that original memory in
full force, to bear for us. We do this much less when we see something that’s on a screen. We process it much more superficially, much more automatically,
much more quickly. We don’t stop to linger, we
don’t stop to think about what that means for us. (relaxing music) – So for me, I just love
hearing people’s stories, right? So there’s people that we pass by, that just have, everyday on the street, that just have these amazing stories that if we just take a
moment to stop and listen, I think we can learn some stuff. If we take those stories
and put them in print, then they can move on. Even in family photos, it’s so important to print our family photos. We take more photos now than
we’ve ever taken before, but if we’re not careful,
we’re not gonna have anything to show for it. In 10 or 20 years, our
kids have to have something to look back on. (relaxing music) We’re heading to that. To the metro stop. I think the Chardenoux,
I think is what it said. We’re gonna head to the metro stop. Hop on the metro for five stops and then go meet up with Scott Robert Lynn at his apartment, for his workshop and we’re gonna talk a
little bit about storytelling and the importance of print
to a lot of professionals that are attending this workshop. So that’ll be cool. – Today we have a special guest, all the way from Portland,
Oregon, Mr. Fundy, the inventor of Fundy Software, is here to share a little about why he’s here and his journey here and what he’s doing and so anyways, go ahead take it. – I discovered a print,
my mother and father found a print of my great, great uncle, that was taken in World War
I, in the south of France. It’s this old print and it
still has the studio name, right, it’s pasted onto
a piece of cardboard. It has the studio name,
the studio address. So I pulled up Google Maps and the studio is still in business,
in the south of France. – Wow.
– Whoa. – Yeah, right?
– Incredible. – So, tomorrow, we’re driving down there, seven hour drive and I’m
gonna have my portrait taken in the same place. So,
– Nice. – The reason we’re doing this is to re-communicate the importance
of printing photos. Like, as professionals,
if we’re not delivering printed product to our clients, then in the future, people
like me can’t exist. Right, I’ve discovered a story, because I have a print
that’s a hundred years old. And if we don’t print our
photos for our clients, their great, great grandchildren, are not going to be able to
rediscover their stories. Let me, let me do something. I have a little printer. Can you all stand up? I’m gonna give you guys a print. Okay, one, two, three. (camera clicking) There we go. – Oh, very cool.
– Oh thank you! That’s super cool.
– Yeah, go ahead and take it.
– And it’s like a Polaroid? – Yep, so it’ll start developing, in a couple seconds.
– I saw that on Instagram. – On the white side. – Whoa! – So cute.
– That’s cool, huh? – That’s awesome.
– Yeah. – You know, when she was born, – Yeah.
– It was when film – Yeah.
– was still kind of (mumbles). So I have like albums and
albums of her first year. – Yeah.
– And I have nothing of his. – You guys have a good trip. – Thank you, you too.
– You too. – So tomorrow’s Bastille Day, so I thought we’d go check
out the Arch de Triumph, which is really cool, they
have a giant French flag hanging from the middle of it. It also has the Tomb
of the Unknown Soldier. (relaxing music)
(bagpipes playing) So this is the Tomb of the
Unknown French Soldier, from World War I. So we can see the dates, 1914 to 1918. So my great, great uncle’s
photo was taken in 1917. But I think it’s significant that this is the World War I tomb and that was the war that my
great, great uncle was in. So, I thought this would be
a great place to come visit. (camera clicking) As a photographer who’s out
doing street photography, I think that there’s this huge difference between taking a photo of someone, because you’re taking some of them and then giving them a print, because you’re giving them a gift. And you can just see
people’s like eyes light up, when they get a print
and how excited they are. One of the problems with digital, is that there’s just so much of everything and when you give something digitally, it’s just like when you send
a digital birthday card, or whatever, it doesn’t
have any meaning, right? People don’t put any value on it. And, when you give someone
an actual print of a photo, versus just sending them the photo, you can instantly see the reaction. And, there’s just a lot
of power in actually getting something physical, versus just the digital
representation of that item. People look at a printed
photo, versus a digital photo, they look at it much longer
and much more deeply. You can actually see their eyes bounce all over the frame of the photo, versus a digital, they’ll just
kind of look at the center and then you know, move on. The print lights up very
specific parts of your brain, that don’t light up as
much as they’re viewing the same digital version
of the same thing. So, it lights up the part of your brain that deals with memory. So you’re imprinting
that moment, much deeper. So, if you go on camping
trips with your family and you take photos and
then you print those photos, your kids will remember that
camping trip much more deeply. – So I keep a bunch of
photos in my office. I love to have these physical
photos in front of me. This is me with my
sister on my wedding day. This is one of many photos
I keep in my office, to serve as these
emotional cues to my past. Having those photos around you can serve as this really tactile, really ever present cue to you that transports you back to that time, that meant so much to you. – Now we are on the highway, heading down to just south of Bordeaux. We have about seven hours. (relaxing music) My God, how did I find
this place (laughs)? – [Navigator] You have
reached your destination. (relaxing music) – So this photo is from the studio we’re going to tomorrow. So it’s a well known studio in town. And the family, look. So they had their family portrait
taken at the same studio. How crazy is that? Look check it out. So the telephone number was three digits. That’s the telephone number. Three digits, Studio
Ernest, Mont de Marsan, when he was 12. – Look, his papa, his mama. – These are his parents at Studio Ernest. We hit the jackpot (laughs). Look at this. How crazy is this? (camera clicking) (relaxing music) Today’s the day. So we have an appointment at 10 o’clock, to go to Studio Ernest and
have my portrait taken. The lovely couple that owns the house, are gonna go along with me, so that’s gonna be fun. I’m gonna have my portrait taken. I was emailing with the woman who I believe is the
manager of the studio. She said that I can go
ahead and get a print today, so I can take that back with me and they’ll also provide the digital file, so I can make another print back home, if we don’t quite get the toning exactly like I like it today. But yeah, I’m excited. This is it. This is the whole reason we came. Yeah, then we’re done. We did it. I wanted dark colors,
that were somewhat close to what my great, great uncle wore. I didn’t want to try to
replicate his uniform. I’ve never been in the military. I think that’d be kind of
disrespectful if I did that. So, I went with dark colors. Black T-shirt, this is a
really, really dark blue, so it’ll show up slightly
different colors in the photo. It’s just from the waist up. So I want it to look
as similar as possible, but without trying to
copy, what he’s doing. So, hopefully I’ll look good. – Ah, that, you can see it up there. You can see the awning, the black one. Right next to the Eave Boutique. Yeah, he’s really like, he
put some thought into this. (camera clicking) (camera clicking) (camera clicking) Yeah, yeah exactly. He said exactly the same
we’re talking about. Without the print, there’s
no history into the future. Yeah there’s no memories, right? So he’s saying it’s really important to print the photos. So we’re gonna go back
to the studio at four and they’ll have the print ready. Look you did the edges. Look, check it out. So Jennifer’s gonna do a little
bit more finalized version and then send it to me. Just picked up the final
print this morning, with Christian, it was so great. He was so attentive to the light. He adjusted the lighting
like three or four times. He made sure the crick in my elbow was the same as my great, great uncle and it’s great, it’s just so emotional to have this journey completed,
after a hundred years. To imagine my great, great uncle walking through these very streets, probably with his regiment
and then stopping here at this location right
here, Studio Ernest, the studio used to be downstairs. So, right over there, that
he had this portrait taken a hundred years ago. So we have to print so that
these stories stay alive and so that in a hundred years, somebody else can discover
a print somewhere, somehow and recreate a story and figure out what was important about that print and how it connects to their life. Got in last night a little bit late and Ken, my oldest was at work. So I didn’t wanna retell
the whole story of the trip. And the reasons why I
took the trip to the kids. I think that by printing the story out and being able to present
the story, one by one, in a print manner, it
will kind of help the kids understand on a deeper level and help them remember this as they get older. So studies show, that by
viewing things in print while you hear a story, your memory and your attention and your understanding shoot way up. So we flew all the way there and we arrived at about 3
p.m. and then we went to bed about 12, midnight. And then the next morning we woke up and we rented a car and we had to drive to
the south of France. So Paris is up in the north of France and then we had to drive. Took 11 hours to get down here (laughs). – Oh damn.
– Yeah, that was not cool. – And this with the background white. But this one has got a
focus more than (mumbles) and this one is kind of straight. – [Andrew] Mm-hmm (affirmative). – I don’t know, I like this one too. – So these two prints represent the story of this photo
taken a hundred years ago. And then, this photo taken just recently, in the same studio, Studio Ernest, and while this is a photo for my family, it’s also a print to
represent how important it is that we print our photos, so
that stories like this one, can be relived, a hundred years from now. This represents a family history. So, a hundred years ago, we
have my great, great uncle, myself and then these
two slots are left open, for Ken and Joe, to recreate
the same exact photo. Hopefully, they can travel back to the south of France themselves and visit the same exact
studio and being taken care of by Christian and all the wonderful people that took care of me. Why would I travel 5,250 miles to where this photo was taken,
to have this photo taken? It’s not because I wanted this photo. It’s because I wanted to communicate how important it is for us
now, to print our photos, because, in a hundred years, there will be people
that need these stories of their own families. And to know who their parents
and their grandparents and their great grandparents
were and their stories. Because if we’re not printing our family photos, then our grandchildren
and great grandchildren, won’t be able to do what I just did. They won’t be able to
discover someone’s story and who they were. And here I am holding a print
that is a hundred years old, that was taken of a young man in 1917, as he marched through the south of France. (relaxing music)

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