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The woman scoops you into her arms and hugs you tightly before tickling the tip of your nose with an index finger.
Imagine opening your eyes and seeing a kind face peering down at you, smiling gently.
By the 1840s daguerreotype photography was becoming popular and the 1850s saw an absolute boom in photography. There are round headlamps with a bar connecting them. The windscreen is square and appears to be divided in half.
Everyone was having their photograph made, it seems, and there were three general classes of photographs: Ambrotypes – images on glass which were underexposed or negatives of the original which had to be placed on a dark backing so the image could be seen. Let’s take an inventory of this photograph—what do we see? If you aren’t a car buff, you may not recognize that radiator emblem, but an online search tells you this car is a Chevrolet.
Soon she will read you a story, play every game you can imagine, give you a warm bottle, keep you dry, safe, and happy.
There is something about being able to look an ancestor in the eye—we make a connection to the people we can identify by both name and face. We wonder what they were thinking or doing, or why that photograph was taken on that particular day. Sometimes the people in the photograph are not who we think they are.
Because men’s fashion didn’t change as dramatically as women’s fashion, we will focus primarily on women’s fashion in part two of this blog.
At least one of the three key aspects of women’s fashion—hair, the bodice of the dress, and the skirt of the dress—is depicted in every photograph.
Knowing what to look for and what is suggested by hair and clothing styles can assist us in identifying the person or people in our unidentified family photographs.
If you need assistance putting a story to the photographs in your collection, Legacy Tree Genealogists can provide a well-researched narrative history of an individual, a couple, or an entire family. With a Master's degree in history, Kate loves to help clients really see into the lives of their ancestors.
This beautiful wedding photograph offers us no clues to the identity of the bride and groom beyond what we can see here: a bride and groom, and the imprimatur of the photographer on the bottom of the cardboard backer.
Without knowing anything about the couple, or even considering what clues their clothing can provide, a search for H. Olson reveals he was a Norwegian-American photographer who had a studio in Montevideo, Minnesota between 18.
A license plate on an automobile might provide a year of registration – 1934 in this case.