Italian Roots and Genealogy
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Italian Roots and Genealogy
Uncovering Family History: The Power of Photographs with Maureen Taylor
Imagine uncovering your family’s history through a single photograph. That's the journey we embark on with Maureen Taylor, the renowned "photo detective," as we explore the powerful intersection of history and photography. From the meticulous art of traditional photography to the instant gratification of digital captures, we uncover how these images serve as portals to the past. Through personal anecdotes and insights, I reflect on how my father's career as a New York Daily News photographer ingrained in me a deep appreciation for the stories that photographs tell. These snapshots are not just pictures; they're stories waiting to be discovered.
Ever wondered why people in old photos rarely smile? Society’s norms of seriousness and respectability once dictated expressions, and we explore these fascinating conventions alongside the evolution of photographic technology. From the reversed images of early daguerreotypes to the chemical magic of Polaroid pictures, each photograph holds a piece of history. Join us as we share personal family stories and address the modern film photography trend, where digital often trumps print, leaving tangible memories at risk of being forgotten.
Fashion is cyclical, and so is photography, with vintage styles and processes constantly resurfacing. Whether it's the allure of early salted paper prints or the rewarding challenge of reuniting lost photographs with their owners, these images offer a unique connection to the past. We celebrate individuals like Kate Kelly, whose dedication to preserving these memories echoes our own mission. For those keen on preserving family history, explore my books, "Preserving Your Family Photographs" and "Family Photo Detective," and tune into Maureen's podcast, "The Photo Detective," for more stories and expert advice on safeguarding your family’s photographic legacy.
Turnkey. The only thing you’ll lift are your spirits.
Preserving Your Family PhotographsExplore techniques to share your images.
Family Photo Detective
The Photo Detective shows you how to study the clues in your photos and recapture their stories.
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Everyone. This is Bob Sorrentino, from Italian Roots and Genealogy. Be sure to check out our blog and our YouTube channel and our newsletter and our great sponsors, italy Rooting Phil Italy and Abiativa Casa. And my great guest today is Maureen Taylor, the photo detective. So welcome, maureen. Thank you for being here. Thank you for having me on, bob. Oh, no, it's my pleasure. I was really excited, looking forward to this. So you know, I was going through the blog and the podcast and everything, and you cover such a wide variety of topics. I'm stuck with where to start.
Speaker 2:Well, they're all photo related though.
Speaker 1:Yes, yes.
Speaker 2:I know, and photos cover a lot of territory.
Speaker 1:Well, just so you know, my dad was a photographer for the New York Daily News for 38 years.
Speaker 2:I think he sent me some of those they're gorgeous photographs.
Speaker 1:Yeah, and you know, you know what it is. You know everybody has a camera on their phone now and snapping pictures of everything and you can play with it and change the colors and all to do that. But those guys you know from my dad's era, I mean you know he was using a speed graphic with two plates and flash bulbs, yeah, and doing you know these fires and and police actions and it's amazing, isn't it?
Speaker 2:I mean, you had to really plan the shot, you had to think it through before you pressed that shutter.
Speaker 1:Yeah, exactly, and he would have two shots. Two shots Because he had a plate I guess the plate was like five by seven or something like that and carrying around this big camera bag and all of that.
Speaker 2:So it was heavy.
Speaker 1:Yes, yes, yes, I couldn't pick it up as a kid, right. So tell you know, tell us a little bit about how you got started as as being a photo detective and looking back at these old photos and and figuring out the era and the clothes and all of that kind of stuff.
Speaker 2:Yeah, so I've been a history geek from way back. I can remember giving my mom a really hard time. I had to be Mrs Lincoln for a school play and I was like I need a hoop.
Speaker 2:She's like what are you talking about? But with the photo stuff I do credit her because her family had a lot of family photographs. We used to look at them all the time. We'd talk about the people in them, we'd talk about the photographs and these aren't old pictures. We didn't have old pictures. We had snapshots, you know, from the 1920s and 1930s that we'd look at and reminisce about the people in them.
Speaker 2:But then you know this history and photography thing. I mean I did not know when I was a kid or even as a young adult, that you could combine those two into a career. And I had a job as a curator of a sort of non-print materials collection and that's everything from Valentines to architectural drawings to photographs. And the photographs just were always my passion, like I mean I love basic paper ephemera I still collect some of it. But the photographs I mean the stories they tell the people that are in them, the people that aren't in them. Why are they not in them? What are they wearing, what are they doing? You know, all of that becomes so wonderful to tell the story.
Speaker 1:Well, yeah, and it's, you know, it's a, it's a look into the past, for sure. And you, you know that and, like I said, nowadays people ask me what should I do when I start? And I tell them, boy, ask grandma, and now, you know, put her on tape, you know, film her story.
Speaker 2:You don't just have to tell her on your phone.
Speaker 1:Yes, absolutely, absolutely.
Speaker 2:I I've said this before you know when sometimes they'll do it on television or somebody will ask you know if you could go back in time, who would you talk to? I saw my grandmothers. Who else would I talk to? My dad's mom is the only one who was alive when I was a kid. I'm the oldest daughter of the youngest daughter, the youngest kid in my mom's side of the family and then my dad got married sort of later in life not later in life. He was in his 30s and his siblings were all married with kids. So you know, my grandparents were born in the 19th century and by the time I came along there was only that one grandma, and the other is gone.
Speaker 1:Yeah, that's the same in my family. My father was the youngest, my mother was the next youngest, and same thing. They were born in 1883, 1880. Exactly like that. And so I never knew my father's dad. He passed away when I was like two months old. But my other grandparents I kind of knew, but again I was like you know, 10 or 12 or something like that when they passed away.
Speaker 2:I would love to go back and talk to both of my grandparents, my grandfather on my mom's side. I would love to hear him, because he was a Canadian immigrant. What did he sound like? You know, I don't know what he sounded like, but I don't even know if he spoke English. And you know my grandmother and my grandparents on the other side, but I did have one link to them, and that is I mean, she's my cousin too, but we always call her my dad's cousin. Her mother was my grandmother's sister, and her mother got married in her forties and had children, and so this woman is still alive, and so I can sort of skip a generation. When I talk to her, she has like a whole new perspective, because my great-grandfather is her grandfather. Not that she knew him, but all the stories came down through her. So that's, you know, that's the closest I can get to time travel talking to Well, the photos are actually.
Speaker 1:that's a form of time travel, right?
Speaker 2:Right and she gave me all of her family photographs not that long ago, which is wonderful, so I have that whole side of the family that I didn't have pictures of.
Speaker 1:So when you find a photo from you know the 1880s, 1890s, early 1900s or stuff like that, what grabs you in that photo? You know when you first look at it okay.
Speaker 2:So I've been looking at photographs for a long time we won't talk about how long. So what grabs me in a photograph is the unusual thing that I might not see in another photo, because a lot of photos are similar. You know, they wear similar dresses or they pose similarly, or the format is similar, but what are they doing with their hands, or what little piece of jewelry are they wearing, or what's in the background? There's always something that grabs me. That, for me, is the doorway into the story.
Speaker 1:Yeah yeah, yeah, I, I could, I could, I can, as you're saying, that I'm kind of envisioning it, you know, because, uh, yeah, there may be a mirror or a picture hanging on the wall or something my or where was it taken, right?
Speaker 2:suddenly it's like where was that taken? You know, and my clients often don't see those little details they're so used to just focusing on the faces and, in their minds, hearing the stories about the person in the photograph, that they overlook it and they'll go. She's wearing a necklace, like yes, let's talk about the necklace, and that's why I cover such a wide range of topics on the podcast, because it's about all the different little things that play into identifying a photograph or telling the story of a photograph. But also I love history and so I include some general history things too, because you never know where that intersection is between the photograph, your family history and just history in general.
Speaker 1:Yeah, and you know, and I, history was my best subject, you know, growing up, english and math, forget it. Algebra oh my God, let's not talk about math.
Speaker 1:I didn't know it wasn't going to be on the test, but yeah, so so I always, you know, I always loved history and I and I think that's what got me started and I always used to like looking at the photo book with the black pages and the little corners and all of that kind of stuff and looking at the old photos. Then I have, I have, two roadblock photos. One of them is an Italian soldier. He's probably, I have to guess, just just pre-World War. I and my mother used to tell me that he was my grandmother's brother, but there's a name on the back, paolo Tonatone, and that's not in my family tree and I've done extensive work on that. That's not in my family tree and I've done extensive work on that. However, on one of the records from Italy I see that last name. So I'm stumped. I'm just stumped.
Speaker 2:Well.
Speaker 2:Yeah go ahead. Yeah, you should have sent that to me I will. Sometimes the stories get confused, right, they get passed on. It's like that game of telephone that probably you and I played when we were kids, where you say one thing and you go around the circle and by the time you come out it's something else. But maybe that person was actually serving in the same unit with the brother and it got confused in the family. He's in uniform, he must be so-and-so, but there's a name on the back that's not so-and-so, or he's a distant cousin, or something like that. I mean, obviously you know it's not, or you think it's not. I mean, is the name on the back correct? We don't know that either, but there's lots of possibilities for that photograph.
Speaker 1:Well, like I said, and the only clue I have, because of my paternal grandmother, because of her nobility connections, I see that name, like I said, as a witness, not Paolo, probably his father or brother or something like that, but I do say the name. The other one that's a mystery, is a photo of a woman that I believe is my great grandfather's sister. They came to America 10 years before my grandparents and she's there with two little kids, uh, and at first I thought one of the kids were my, was my grandmother, but that's not the case. But there's, there's no name on the back or anything like that. Um, so I don't know if these children, these two little girls, are her, her grandchildren, possibly, uh, maybe nieces or something like that. Uh, and the photo was well. See, I don't know if the photo was in Italy or in America. That's the other thing.
Speaker 2:You have to date it to figure out where they were at the time have a.
Speaker 1:I do have a photograph of a couple of photographs of my grandmother from Italy which, based on the, the clothes and you know uh, you know, uh, her face is very young in the picture. I could kind of put like she was probably 17, 18 or something like that when these photos were taken.
Speaker 2:Uh, so the yeah. Did they live in the city or did they live in the rural areas?
Speaker 1:Well, my grandmother was born outside of Naples in a place called Cercola, but her family, her grandfather, lived in Naples. Her mother was born and died in Naples, in the city. Mother was born and died in naples, in the city, and the one photo that I have of her does have the name of the photographer, uh, and it says napoli on it. So I know it was taken.
Speaker 2:I know it was taken in naples so the thing about what people are wearing right is and I've seen this before with photographs from Italy If they're in the rural areas, then they might not be wearing the most up-to-date clothing, but if they're living in the city then they might be, because they're more exposed to current fashion. So the date of an image can be a little wiggly unless you know exactly who's in the picture and you can estimate how old they are. Um, but costume is so fascinating, which is why I have so many fashion historians on, and sometimes they disagree really I should do a panel so so.
Speaker 1:So so they may look at a dress and one will say well, it's 1880, and the other one will say no, no, no, that's, that's not quite that it's all the little nuances of the photograph that they'll that the costume that they might disagree about there are, there are things they're sort of there are fashion myths, just like there are photo myths.
Speaker 2:Really, yeah, there are photo myths sure myths, really? Yeah, there are photo myths, sure. So give me an example. Oh well, it's reported that everyone in the American Civil War had their photograph taken. Is that really true? It seems like a bit of an exaggeration. Or why did people smile in photographs or not smile in photographs? That's a big one, right? I was just interviewing a photo historian just a couple of days ago for the podcast. We were talking about that very topic.
Speaker 1:Well, didn't they take pictures of the dead?
Speaker 2:Of course they did. Yeah, sure, If you didn't get them alive, you got them while they were dead. If you didn't have a picture, Of course they did. Yeah, sure, If you didn't get them alive, you got them all. They were dead If you didn't have a picture. But the smiling thing is God, I mean, ask every person you know and they'll have a different answer. They'll be like, oh, they're dead, or they had bad teeth, or what was the other one? Oh, anyway, we, we talked about it and we agreed he and I agreed that the reason people didn't necessarily smile oh, the cameras weren't fast enough, that's the other one.
Speaker 1:Yes, I heard that?
Speaker 2:No, that's not true. The cameras were pretty fast. You can find daguerreotypes of people smiling. You can find all kinds of photographs of people smiling, but why didn't they smile, ask yourself. Did they smile in their painted portraits? No, no, no. You want to look serious. You want to look respectable. You don't want to be smiling like the fool on the circus poster. Really.
Speaker 1:And see, now, like now, now, smile, smile.
Speaker 2:Right Now, we smile all the time, but you know there are photographs of people smiling with bad teeth. There are photographs of people smiling in earlier photographs, when you know, when cameras were just starting to get fast enough. So so yeah, no, it has to do with being serious. You want to be respectable.
Speaker 1:And you know what fascinates me about that era too, when you, you know, when you see historical fiction things or something, that the image was upside down.
Speaker 2:Yeah Well, what about backwards? Oh, I didn't know backwards.
Speaker 1:Reverse yeah, before they had reversing lenses.
Speaker 2:Things are reversed if you look at early if you look at early daguerreotypes, you know those things on um copper, uh, silver coated copper plates, right early ones. If you look at them, they're reversed. The words are all reversed, no kidding oh man, I never, I never realized that, yeah, yeah yeah, yeah, sort of like what we do when we hold something up to the camera on our computer or you've ever done that and the Like tick tocks and the book covers the reverse. I'm like that's not gonna work, but yeah.
Speaker 1:Oh, that's fascinating. That's fascinating. Photographs are fascinating.
Speaker 2:Or you know how many images were on a roll of film in the early amateur cameras. How about 100? Really?
Speaker 1:Yeah.
Speaker 2:I was going to say 12, it's called Good Pictures and she looks at 20th century snapshots and breaks them down by category and it's fascinating, like clouds. When do people start photographing clouds and put them in their family albums? Or they photograph the TV for the landing on the moon. It's a wonderful book.
Speaker 1:Yeah.
Speaker 2:One of my favorites.
Speaker 1:I recall going through things, the Polaroids. That was a big deal when we were kids. You had to take it out. I remember the first time. I remember my uncle getting one and the picture didn't set because you had to rub something on it, yeah, yeah, chemicals.
Speaker 2:Then you went and ate cheetos and you would do it again. I had a swinger camera when I was a kid. Remember the swinger? Yeah, it was marketed mostly to teenage girls. And I'd have that thing on my wrist and I'd hit the button horrible photographs. And then you'd have this little tube of chemical that you would spread on it for it to you know develop. All of those pictures are just black. Right now there's nothing left.
Speaker 1:I'm the worst photographer in the world, right? So now I told you about my father who took all these great pictures. Horrible photographer, cut people's feet off, cut their heads off, right, right, right, right, right.
Speaker 2:And then the other Polaroids, the ones that shoot out of the camera, right, those ones from the 70s, the SX70s, whatever. My husband worked for Polaroid for a bit and I said to him so how does that actually work? You know he goes. Well, it's layers of chemicals and color and the camera, you know, mashes them together. And I said what happens if the development doesn't stop? And he said sometimes it doesn't, so you really have to copy all of those. All those Polaroids have to be copied, scanned.
Speaker 1:Yeah, and I remember back then too, them fading over time and all of that. I used to. My dad had a he because he used to do wedding photos, uh, and I see some photos sometimes of, like a cousin or something like that, a couple of them before, when I was a baby or maybe even before I was born, and I could tell that my, I could tell that it was my father took the picture from the post, but I used to. You know, he had a dark room in my, uh, grandmother's house and I used to go in there and watch him do the pictures in a dark room.
Speaker 2:It was cool, wasn't it?
Speaker 1:It was really, really cool. He didn't once it went to color. He used to send them out, but the black and whites when he did weddings he would do them himself. But yeah, because the image you know, you watch, the image you know come to life. Yeah, yeah, the image you know, you watch, the image you know come to life.
Speaker 2:Yeah, yeah, yeah, yeah, I worked in a dark room. I had a dark room, yeah, but here's the modern problem People are still shooting film. You can still get film and they shoot film, and then the developer, the company developing it uploads all those images to a website. Right? Nobody goes and picks up their prints. They're sitting at Hunt's Camera, down the street from me. They have a huge box where all of these prints are sitting. People, they don't need them, they have them digitally.
Speaker 1:Yeah, and every once in a while I'll send out a picture to be printed or something like that, you know, to send it to the, to the drugstore or things like that. But there was something magical in those days about waiting for the, for the photos. You could use a spotter and enhance it in different areas.
Speaker 2:It was all very. Use a spotter and enhance it in different areas. It was all very the technical.
Speaker 1:Yeah, yeah, no, no, for sure, for sure. And you know, having having grown I, I used to. I used to see my father's pictures on on the paper. So you know I'm getting goosebumps saying that. Yeah, you know, as a 10-year-old kid, my father would have the front page of the New York Daily News. That's the cool thing, yeah. And every once in a while we would read the paper. I'll send you the picture of me in the paper. And I had a little girlfriend I guess, for lack of a better word in kindergarten, and my dad took the picture.
Speaker 2:How long was your dad a photographer before he worked for the New York Daily News?
Speaker 1:He wasn't, he pretty much self-taught. He became a copy boy at the daily news, uh. And when the war broke out, he enlisted in the army and he wanted to be, um, a combat photographer. And they told him well, you have to be a professional photographer to be a combat photographer. But then they said but the life expectancy listen to this for a combat photographer in World War II is six months. Yeah, so they sent them to we were from New York. They sent them to Fort Monmouth, which I live not far from now, and put them in signal school.
Speaker 1:But he wound up, he had a punctured eardrum, so they sent them out. He got, you know, discharged from the army and because all the photographers were in the service, he became a photographer in 1944. When the war ended and the photographers came, came back, he was a newsreel, um, uh, movie person for wpix channel 11 for several years and then eventually got back into the news. Yeah, but he loved his job, he, he. They offered to make him a boss, so he didn't want to be a boss, he just wanted to be on the street yeah, I can imagine that he was where the action was.
Speaker 1:Yeah, yeah, no, exactly, and my cousin also became a. My cousin became a photographer. A couple of cousins that from my dad's family, from his sister. They became photographers, probably, you know, probably because of him. So so let's, let's talk a little bit about you know your, your website and your podcast. So you know what do you tell people on the podcast or what kind of guests do you have? Let's, let's start there.
Speaker 2:I get everyone from photo historians to fashion historians to nonfiction writers, fashion historians to nonfiction writers. One month I did all historical fiction authors, which was fun because I like historical fiction. So I was like, oh, let me see if I can get interviews with my favorite people and what else. Oh, it's whatever. Sometimes I have jewelry experts. I have morning jewelry experts. This past week I had a person who wrote a workbook on going to the cemeteries. You know, it's all family history, photography, history related.
Speaker 1:I have a great guy. I'll send you his name. He wrote a book about the fashion of the nobility in the Renaissance Cool.
Speaker 2:In Italy.
Speaker 1:It's fascinating. It's really a super interesting book.
Speaker 2:Well, the thing about fashion is it comes back again. My mother always said wait long enough and the fashion of your youth will come back again.
Speaker 1:I've lived long enough, bob See in the stores.
Speaker 2:I'm like, ooh, and it's like that for generations. Some of the same styles or patterns. Maybe not the length of the skirt, and certainly thank God the bustle hasn't come back, but although we have those peplums, but it you know, patterns and jewelry, hairstyles, all kinds of stuff comes back again and again and it's I think it's interesting to see the history behind those things yeah and and you know he goes deep into that about the, the colors and how you know you only certain colors could be worn by certain people, like you know, the purple and all of that kind of stuff.
Speaker 1:Yeah, but you know I'm always intrigued. We'll watch, because we like to watch these historical type fiction shows and stuff. Like I'm always fascinated about the hats people wear and like how are they convinced everybody to wear this kind of hat?
Speaker 2:Well, think about some of the fashion we have. Right, in 50 years or a hundred years, people will look back and go, wow, could they really have worn those ripped jeans? Why did they do that? Or, you know, I'm a big fan of the Gilded Age, because it's the on HBO, because it's shot here.
Speaker 2:Yes yes, yes, partially Right, so, but I'm I'm very critical of these historical shows because I want to know that they're accurate and they are the Gilded Ages. The hats are just gorgeous. Yeah, I mean fashion. I have a couple of books. Let me mention my books, if you're oh, yes, please, if you have photographs that you want to learn how to take care of. I have preserving your family photographs brand new edition, just out in 2023. And it even includes a whole section on photo enhancements and software and websites. Metadata is covered, because, of course, a lot of us have digital images. And then I have Family Photo Detective, which is really the basic guide to looking at your photographs critically and telling their story and dating them and looking at all the details stuff like that.
Speaker 1:So now so can people send you their photographs and and you do that for them.
Speaker 2:Yes, I have a photo. Investigations or consultation slots uh, generally on Wednesdays or Fridays, but if that doesn't work with somebody's schedule, they just have to email me and we'll set up a time. It's pretty easy. I love looking at what people have. I miss the in-person conferences because people used to line up and just bring their stuff to the conference and I'd do them right on the spot. I'm willing to do that virtually at any of these conferences right now. But, yeah, anyone can come to me with a photograph or two or an album. Yeah, and I'm not sure when. This will be on YouTube, but it'll be on youtube forever, right, bob? So I will say, in november of 2024 I'm doing gratitude month and so all the consults are going to go on sale.
Speaker 1:It's good time, so I forgot to ask you where. Where do you live now? Providence?
Speaker 2:rhode island.
Speaker 1:Oh yeah, so, and you know, I didn't know that there were so many Italians in Providence until just a few years ago. How?
Speaker 2:could you not know that?
Speaker 1:Because I come from New York. We thought all the Italians just came from Brooklyn and Queens.
Speaker 2:No, and the Bronx. No, we have a huge number of Italians, a lot of them from the Naples area, I believe.
Speaker 1:Yeah, yeah, and I don't know. Do you know Dr Ed in New Chile? No, yeah, he writes a blog about his stories of growing up Italian and all that kind of stuff and he's from Providence.
Speaker 2:But yeah, nice guy. I'm sure I've run into him, but yeah, nice try, nice try. Providence is a city, but not a big city when you think about it.
Speaker 1:Yeah, you probably pass them in the drugstore or something like that Probably. But yeah, he's a great guy and, like I said, he kind of writes and he helped me with my book a little bit, along with Anthony Riccio, because I didn't know where to start. I would love, absolutely love, to write historical fiction, but you know, building characters is that, you know, you have to be able to build the characters and that's but.
Speaker 2:But you know how to do that. You're a genealogist I don't know it's easier than you think. It's definitely easier than you think. I have some writing stuff that I've been doing.
Speaker 1:Um, I guess, once you get, I guess, I suppose, once you get, once you get started, um, yeah, I, I, I guess. So, before we go, I want to ask you one more thing what's the? Well, two things what's the oldest photo that you found and what was the most interesting one that you've well?
Speaker 2:the most interesting. There's so many interesting ones and I have so many in my collections. I buy because they're interesting, because not everything is in print. So my thousands of photographs that I've collected are my research material, often Like do I actually have that collar on a dress? Because it's not. You know, there's no encyclopedia of collars, or maybe there is, and I just don't know it.
Speaker 2:The oldest photograph I've ever seen, you know, those early daguerreotypes from the very early 1840s. I have one in my collection and it's a young woman and she's holding a daguerreotype of an older woman. Or one of my favorite daguerreotypes that I have is a little baby sitting in a little high chair and she's doing this with her fingers, you know, tapping her fingers together. I'm like it's classic and she's smiling and they've colored her dress, so it's like a red dress. It's just wonderful.
Speaker 2:If you think about paper photographs and the earliest paper photograph I've seen, you know, certainly I've seen the exhibits on salted paper prints in England. There was an exhibit I went to in Edinburgh, but also at the big shows that used to be in London I used to go to those the who Do you Think you Are live shows, and I'd be in the booth looking at you know 500 photographs a day. I brought a clicker with me once to count them. The team of us would look at like literally 500 photographs a day. It was exhausting and somebody had a really early card photograph, you know, from the mid-1850s, which was kind of cool.
Speaker 1:That's nice. Now do you know Kate Kelly?
Speaker 2:by any chance you know, I should know Kate.
Speaker 1:Kelly.
Speaker 2:You should know Kate Kelly she literally lives about three miles from me Get out of here Our paths have never crossed. Literally about three miles down the road.
Speaker 1:Oh, you have to get in touch. I mean she's, I mean she's really a sweetheart and uh, I mean you know she does all of this stuff. Just, I don't know how she does it. I I don't know how she finds all these photos and collects them and uh, and then returns them.
Speaker 2:So yeah, and she returns them. I have not had great luck with that, so you know I give her credit for having good success with that. Most of the other people I know that do the returns. It's like a 50, 50 thing. You know, you get a hundred photographs and you can return 50 of them, or you get 10 and you can return five. It's harder than it looks, much, much harder.
Speaker 1:I'm sure, and she's relentless. I mean she's, I know she's worked on some of them for like long and then all of a sudden she's oh.
Speaker 2:I found it, I've got some and I've tried and they are not going anywhere. They're part of my collection now.
Speaker 1:So thanks again. Why don't you give the names of your books again and the website?
Speaker 2:Sure. So my website is maureentaylorcom and that's M-A-U-R-E-E-N. Taylor T-A-Y-L-O-Rcom. My two books are Preserving your Family Photographs and the Family Photo Detective. They're both available on my website and on Amazon, of course, and my podcast is called the Photo Detective and it's available everywhere. There's podcasts.
Speaker 1:Great, super Well. Thanks again, I really really appreciate it. This has been fascinating. I loved it. This has been great, thank you.
Speaker 2:Thank you, bob.
