6. Photographing the First Year: Expert Interview with Miranda Hayek | Episode 6
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9,585. That's how many photos are on my phone right now - and counting!
Mothers tend to be the documenters and memory makers in families. With a camera in your back pocket, it's both easier and harder than ever to document family life. I asked Miranda Hayek of Blossom Blue Photography and Blossom Blue Studios to be our first expert guest on the podcast and to talk about photographing the first year.
Miranda gives tips on how to best photograph your baby, when to hire a photographer, creating systems for organizing and storing photos to reduce overwhelm. She beautifully shares about how photos and videos aid in preserving memories and building legacy and connection, as well as the importance of embracing the messy beauty of postpartum and early parenthood as part of your family's story.
About Miranda:
Miranda Hayek, MA, is the artist behind Blossom Blue Photography and the creative director of Blossom Blue Studios, a team of creative artists offering fine art products and visual storytelling services throughout Long Beach and worldwide. She is known for her warm personality, engaging editorial approach and sought out for her captivating imagery and nostalgic films.
Her focus is to document everyday connection and movement from an organic perspective in order to produce archival fine art pieces and digital content that hold a visual story of your legacy to hold and share today and for generations to come. Given that digital media has a very short lifespan, her hope is to help bring awareness around the importance of printed materials and minimize the impact of digital Armageddon.
Transcript:
Molly Vasa Bertolucci:
We have our first expert interview on the podcast today with Miranda Hayek! Miranda is the artist behind Blossom Blue Photography and the Creative Director of Blossom Blue Studios. I asked Miranda to come on the podcast to talk about filming, photographing, and documenting your child in the first year, and I got soo much more than just that in this interview.
Mirandaβs focus is on documenting everyday connection and movement from an organic perspective in her art pieces and digital content to really have a digital story of your legacy to hold and share today and for generations to come. She talks about that and so much more in our interview together. Iβm happy to be able to share this with you, letβs jump in to it.
Molly Vasa Bertolucci:
I'm so excited. Yeah. Thank you for coming on the podcast. Let's start by having you tell us about yourself and what you do.
Miranda Hayek:
Great. So my name is Miranda, and I am an editorial family photographer. And what that means is that I specialize in documenting the lives of families, in home primarily, but pretty organically as it unfolds. So the type of client that is really drawn to me are families that are looking to kind of tell the story of their lives at those stages. Whether it be newborn or one year old or whatnot.
And they're looking for photographs that help their children and themselves remember the moments or stages that they're in. I am a print studio, which means that I believe in legacy and making sure that children have photographs that carry on with them. So even though we're obviously documenting for the family, the purpose, the angle, is for families to have or children to have something twenty, thirty, forty years from now that help them piece together the details of their lives. And so that is primarily what I specialize in.
I have two divisions of my studio, one that does family and fine art, and the other that does stories for building legacies for people in their professional lives, which include headshots and other things like that.
So I've been in business for fifteen years, so I've seen a lot of babies and families through the years. And I'm very fortunate that I have families that started with me that I've gotten to see their kids now teens that started off little tiny, tiny, squishy babies. So I'm very fortunate to get to tell full stories for families both photographically and in film. Film meaning I do video along with with stills, and oh my gosh, I have become addicted to that storytelling piece in movies because those of us who are really old like myself, remember the day of family films, and now they've revived and it's another really wonderful visual way to be in your child's story, which a lot of times for moms isn't an option because they're the ones taking photographs of their children and also for children to be able to see what life was at those stages for them. So I love what I do. I find that it's something that will outlive me and will outlive, you know, the stories themselves in in terms of generationally. And so it's it's really a fun thing. I love it.
Molly Vasa Bertolucci:
That's amazing. It's so powerful to be able to capture a family in their own environment and be able to really, like, hold on to those moments especially in the first year because it does all feel like it goes so fast. And there's that feeling of, it's slipping away. And so being able to capture that in such a a lasting way is so beautiful. How did you become interested in photography and the storytelling piece?
Miranda Hayek:
What's funny is that if you were to go on my About page, you will see a video there, that I took when I was ten. And I was documenting stories on video as a child, and I didn't realize that I was doing that. I used to, I spent twenty years working in the nonprofit world. My degrees in Kinesiology, and so I spent many years working with people with limited mobility, particularly people with MS.
And what we discovered was that if we attached a photograph to a grant proposal, it was more likely to get funded. So it was about documenting personal interest stories that would give funders and foundations a view of the type of work that we did and how it would benefit the quality of life or impact the quality of life of those that were receiving this funding. And then just like a lot of people in two thousand eight, I was laid off for my job. And I had started to feel like I was doing two jobs anyway. Like, it just you know, it's funny how the universe just kind of does its thing and shuffles things around in a way that are meant to be, but people had started to take note of the type of work that I did, that I didn't realize was kind of unique at the time. I mean, it's very popular now. But at the time, you know, people didn't photograph that way. And so people were like, oh, I I like what you're doing. Could you do this? Could you do that? And so I had started to feel like I had kind of this side hustle that was no longer a side hustle that was kind of taking over a lot of my time. When I got laid off, I got three months severance pay. So I thought, I'm gonna take my three months severance pay, and if I can make it last year doing photography, then we'll see what we what we evaluate at the earmark.
Well, literally, I wrote my mortgage payment to the year. To the exact year, I paid my mortgage payment, you know, supplementing with photography, and I've just never looked back. It's just been this wild roller coaster ride, but really it was just the storyteller piece in me,
I come from a long family of storytellers, and I just had a very vivid imagination. So for me, it's not so much the the camera, although it's the tool that I use, it's more that I am intrigued by stories. And I've seen that legacy and things are either remembered- Like, I don't know if you have photographs of your childhood, where you look at the picture and you have like a little beautiful red sweater and a little wagon or something. And you say, oh, yeah, I remember that little wagon. Do you really remember the little wagon? Or do you remember the picture of you in the little wagon that evokes the memory?
And so I've always been fascinated with that. I love, you know, my grandma had photo albums, and we'd grab them off the shelf, and we'd sit, we'd look at photo albums. And in my old work, I used to get up in the morning and feel like my job was very purposeful. I would help people walk. I would help people improve their quality of life in some way. So felt like what I was doing in life was very meaningful. And then after the recession and I was doing photography, photographers are a dime a dozen, you know, and more so now than ever, that everybody has a camera in their back pocket, you know. I was feeling like my job was not meaningful in the same way that my old job was that I went to school for. And so I had to figure out if I was gonna do this, how it was going to be meaningful in the long run. I didn't want photographs that just had fifteen minutes of Facebook fame and then never went anywhere from there.
And so that is how my model was built and shifted because when I started, I used to think, like, let's just, you know, take a bunch of photos and then just put them on a CD, so I'm really dating myself here. But on a CD or something like that. Now it's a USB drive, not even that anymore, and have a hundred and fifty pictures of that moment. And what I discovered is that wasn't working, that wasn't ensuring that five years from now even, because you have a three year old, so I'm sure you have thirty million photographs of that three year old, especially probably in the first month from when you bring your baby home from the hospital. Your phone is, you know, five hundred photos, easy, of that baby and that nothing happens with those photographs.
And so figuring out a business model. So I had to really think hard. Number one, how was I gonna do this to be meaningful to someone else's life? My life, my family's life, and how I was how I was gonna do it so that it wasn't in vain? So it's all cute and and adorable when you take a picture of a kid, you know, and of course we're in love with our children. But how is this going to serve the family in five, ten, fifteen years? And so we've got to be very intentful that goes from how are you gonna photograph your baby? What is gonna be important to your family? How do you experience those memories?
Like, do you wanna see them up on walls? You want to see them in photo books? How do you relive those memories in your family? And how are you going to ensure that, god forbid, middle of the night, there's a fire in your house that those aren't gonna be wiped out. That there's got some kind of security system built in so that you don't lose those and that you can easily pass them on to future generations.
And I really try to be that port for the mom, the dad, the parent, whoever is raising a child.
And in a way that makes it easy for them so that you don't end up at age five, Molly, with five million photographs in your phone and on your computer, and you don't know what to do with them. Right? And it is too much of an overwhelming task to sort and decide which ones you print. And if you print, are you printing archivally and what are you doing with them? What are you doing with them once you printed them?
Right? And those are things that if I can get a mom or, you know, a family when in the early stages, or when mom is pregnant and you can make some decisions about what works for your family and what's important to you, then you've got a plan of action, it makes it a little bit more manageable on how you share, preserve, back them up, all of that. So my job is very multifaceted because it's not just about taking the image in the moment.
Molly Vasa Bertolucci:
Totally. It sounds like thinking about photographs, memory, stories, in the context of the lifespan. And I relate so much, there's a lot that you said that feels so familiar to me because I'm a story seeker. I've always looked for stories to make sense of the world around me. And in my own personal life and hard times, I've always looked for stories of how did other people do this? Or how can I look to stories for support and encouragement? And that's what this podcast is, you know, what kind of started this podcast out, wanting to provide those stories. So I love that about your work. I really do. It's so beautiful.
Miranda Hayek:
And I don't know about your journey, but in my journey there have been pockets where I've just felt so alone. But in the story, we don't feel alone. You know? It's crazy to think that we could feel alone in a time.
Where there's so much around us and so much noise and and a lot of times people around us and you could feel so alone in your journey or your struggle or your joy even. Right? Like who do you share what with? And the fact that you center around, it's almost like gathering the tribe around you for support. And for encouragement and so that you're not reinventing the wheel and that you feel like you can then fully make decisions of what you want for your family by those other stories. Right?
Molly Vasa Bertolucci:
Totally. And just being able to be seen by other people sharing your story is so powerful. Right? And so I love the idea of photographs, videos, all those memories, being part of that because that is what creates meaning, right, when you're able to tell your story of your family, of your life. So I love how you really contextualize that.
TELLING YOUR BIRTH STORY
Okay. Quick break here, because Miranda and I were talking about the power of telling your story and how meaningful it is, not just to tell your story to be seen, but also to be able to pass that story along for your children. I thought of a resource that I have for you. It's a free workbook for writing your birth story.
Birth is such a transformative impactful monumental event that really splits your life into two: before and after. And it's not just meaningful to tell your story for yourself, but it can also be a way to memorialize, encapsulate and hold that story for your child. It's their first chapter of life. My daughter just had a birthday and one of the things we do every year is remember her birth story. Something I noticed is that over the years, the things that stand out, those key moments in my memory, have changed over the years.
Being able to tell and retell the birth story has become a really amazing way to make meaning out of that experience for both of us. So all that to say, there is a free resource for you, a workbook for telling your birth story, that I'll link in the show notes. And you can also find it at www,poppy-therapy.com/birthstory. Let's get back to my conversation with Miranda.
Molly Vasa Bertolucci:
You said, I was laughing because you said, like, you know, the first month is probably, like, the most photographed, and I tried to make a baby book for my firstborn and I did it too early because it was like, every photo I had. I was like, oh her mouth is a little bit different in this one, I'm gonna try to put it in, and I have just like thousands of photos in this photo book. It would have been so expensive. Because it was just so much because you do you think, like, this is every single moment and you just have so many photos. So thinking about, like, how to get the best photos or how to store and organize photos, I have over nine thousand on my phone right now.
Miranda Hayek:
I so believe that.
Molly Vasa Bertolucci:
What tips do you have for narrowing that down or simplifying it so that those photos are part of the story and not just taking up space on your phone?
Miranda Hayek:
Right? Well, I believe in the power of one when it comes to phone photos, you know, whether it's a kid or a cat or whatever it is you're in to, when you say, oh my god. Let me get a picture of that. Right? Which is fantastic.
I always tell people if if you're inspired in the moment to take a picture, take a picture. Try not to make your life about pictures. I used to coach couples - I used to do wedding photography and it would be the same thing, you know. I don't want to stop you at every moment of your celebration to take a photograph because the photographs will tell your story and will remind you of those moments. But you want those moments to unfold naturally.
And the kids at some point, all they do is smile at a phone. You know, it's like every single thing you're photographing. And I've seen where children even themselves are not present, so they're performing for you. So parent ends up not being present. Because they're wanting to not miss that moment.
And so less is more because, you know, you take out your phone, you take fifteen pictures of your cat, or your kid who's doing something cute. And then you're like, okay, I'll look through those later. But what happens is you end up with fifteen photos that really only require one photo. So in the moment that you're taking that photo, if you're able to and you still can be present, if it's something that's happening, I'd much rather you'd be present than worry about the photo. Pick one.
Pick your favorite of that one and put a heart or put that in the folder that you know, you have for the month. And when my kids were little, we did it by month and there was no phones that took really good pictures. So I was doing just a little tiny point and shoot And so at the end of the month, I would download those photographs onto my computer and I would choose I would create a highlights folder and I would send it off to print. And then I would also order a second set that was sent directly to my mom. So that ensured that there was two copies and also that my mom could enjoy them.
And so I did that at the end of every month, and I was really good about that. And so I tell people take the photo in the moment, whatever photo that is, and then pick one and put it in that folder. There's a lot of services now that can take those photos off a particular album off your phone and print it for you into, like, a little chat book or a little, like, brag book or something. So there's a lot of services that can help you with that. Or you could just categorize them in your computer by months.
Whatever that system is for you, start it early even, before you have your baby, and think of the power of one. But think of which is the one that has clarity that tells the moment and put that in a folder. Because then at the end of the month, you have a folder of kind of your highlights and to find a way to do these where you're not missing out. And that not every moment, in fact, my kids know this phrase that we say - we'll see a sunset or we're doing something and we'll say βoh, somebody take a pictureβ and it's like, well, I don't know where my phone is, you know. And so my daughter will say, βoh, this is one for the the brain camera.β
We just take a moment and we try to remember it collectively. Especially when we travel, we don't get a picture of that moment, but we take a moment to say this is a really cool sunset or this is a really cool thing and just to try to remember it that way, collectively. So not everything needs to be documented. And for those of you that now have multiple children, you can attest to the fact that the first kid gets a million photographs then by the time the third kid or fourth kid comes around, theyβre lucky that there's even in a picture of them alone. Because what happens at that point is that family photographs become the whole family, obviously.
Like, we just had Father's Day. I was digging through my stash of scanned pictures of my family, and I was trying to find a photograph of just me and my dad. And it was hard because most of the pictures I have of my father and I are with my mom. Not that that's a bad thing, but, you know, I have many more pictures of my mom and I by ourselves, but very few pictures of my dad and I. And which is interesting because that was that generation. usually, the males were the the ones with the cameras or whatever. Now it's flipped. It's usually the females that have the cameras or have the the way to photograph their children. So, now, moms are disappearing from the story.
Weβre not seeing moms. And generally, the newborn, especially in the first months, they're very self-conscious about how they look how their house looks, how their hair looks, how their body looks, because their body has changed, and so they don't get photographed, and they cease to exist in that story line.
Molly Vasa Bertolucci:
Yeah, you're coming in contact with moms and their babies, you know, pretty early on for these newborn photos in this really tender time. It sounds like you're noticing that there's some self-consciousness, there's some desire to kind of hide in that period. What advice or words of wisdom do you have for new moms?
Miranda Hayek:
I think if you can look at the moment that you're having documented as the moment. rather than think of being photographed, Even with our phones, we look at the camera, βeverybody, look at the cameraβ, you know, and so you're thinking about how your hair looks and your clothes are. Moms start to hide behind the kid, so they put the kid in front of them to because they're not feeling great about their bodies or whatever they're wearing or whatever. And so when I approach it, even when I do newborn or when I do birth photography, I'm not gonna be photographing the most vulnerable parts of your body in that way, I'm going to tell the story in a very modest, tender way. It's about the moment. So a lot of times mom could be changing a diaper and I'm getting an overhead shot of her back of her head and hands telling the story of mom all the millions of diapers that you've changed with your child, you know. And so if you can think of editorial photography, particularly or storytelling photography as, you're capturing the moment, you know, and the person's in that moment, I think that will help you relax a little bit and not be so self-conscious about the extra twenty pounds that you're carrying or look at what a mess my house is and there's, you know, piles everywhere and there's toys everywhere or whatever it is, dishes in the sink or whatever that you're not so concerned about that.
And even if if they show in the photograph, that is part of the story. Right? I can't think of a mother or parent that isn't completely overwhelmed. They're sore. They're their breasts are leaking.
They've got dishes in the sink. The laundry's piled up. That is part of that story. And in previous generations, that story was omitted. Women were perfectly made up and hair was perfect and they were wearing great little dresses and heels around the house, you know, and the the house was pristine and the kids were perfectly dressed and and that is not reality.
I mean, I don't know whose house is ever like that. But, you know, even the most βdiligentβ parent that managed to kind of wrangle the kids and clean the house and put themselves together, it was still a struggle and it was still not every day. And so it's okay that you see the piles of dishes or the mounds of laundry or that, you know, because let me tell you, when other people look at you and when your children look at that moment, they're going, βoh my gosh, look how little I was. Oh, mommyβ, you know. I remember back then I was also the same like any mom, feeling self-conscious, but I'll tell you I have some pictures of my daughter and I. They are my most prized possession.
And so we're our worst critics. If we can get past that and think about, I am documenting this moment. And actually, those photographs that a photography friend of mine took of me, my daughter's wearing this little outfit, and then it says βyoga babyβ on it because I used to teach yoga, and I would babywear my daughter and teach yoga classes. And now I think, oh my god. Like, I just, I'm so glad I have those photographs.
Because I actually kept that little outfit, and she looks like a little yoga buddha. You know, like a little baby buddha. And she loves those. My daughter loves those. We have that little outfit and she says βwhen I have a baby sometime, if I ever have a baby, I wanna take pictures of my baby in this outfitβ. And so she's focused in the moment of, like, the fact that she was so little and I was holding her. She had this cute little outfit on. She never in a million years would look at that photograph or even me now look at that photograph and go, oh my gosh. I was such a mess.
But we're so self conscious about that. And so let the laundry pile up, sleep with the baby, you know, who cares? Just let it unfold, however it unfolds, try to look at yourself from the eyes of your child in that moment of what's happening. And I promise you this. In a year, two years, three years, definitely five, ten years: you're gonna look back at those photographs and be really glad you have them. And look at them with different eyes and be like, βWow. In that moment, I felt tired and swollen and gross, but I'm beautiful. I'm beautiful even if I felt tired and swollen and gross.β
Molly Vasa Bertolucc:
I love that perspective. It's kind of a shift of going away from like, an image into a memory. Right? Like, being able to be present. And when I think about the early days with my kiddos and even still, I'm still very much in the early days,
I want to be able to look back at photographs or videos of them and be like, ββI remember what that felt likeβ. Like, I remember being sore and being exhausted and sweating on the couch because I'm holding this newborn with no air conditioning. Like, I want to be able to remember that moment and that sounds like you know, the opposite of this sanitized version. I want that moment to be felt. You know, I like that idea of of being able to present the reality of what that was like. And it sounds like that's a lot of what you you try to do through the photographs you get of families.
Miranda Hayek:
Yeah. Just processing. And you as a therapist, I'm sure you walk people through joyful and not joyful moments or challenging moments. And part of walking through them is feeling, right, acknowledging that you're sad or acknowledging that you're overwhelmed or whatever the emotions may be because you can't just cut out those moments in a timeline.
And so images allow you that as well, to process. This is why when we see a photograph of our our mom and our dad that's passed away, for example. You would never get rid of those photographs because now they've passed away and they have a sad connotation that you're missing your mother who's now no longer with you. You wouldn't. You want those photographs even more because it reminds you of her eyes and her hair and, you know, her smile or whatever it is. It's like, so the same goes for any other experience that we have.
In fact, I belong to a lot of photography groups online, and a woman, a photographer, posted yesterday, this friend of hers that she photographed that was getting ready to do an announcement of their pregnancy. She wanted announcement photos taken. And by the time they had the photographs taken, well, they had the photographs taken and then by the time she finished editing her photographs for her friend or her client, they had had a miscarriage. So she says, I don't know how to approach this because they were so happy when we took these photographs.
And now it's sadness. Right? I also belong to a group. It's called Now I Lay Me Down to Sleep. It's a wonderful organization.
It's a national organization. And they photographs families in those times of grief when they've lost a baby. When they've had to deliver stillborn or when the baby dies shortly after birth. And it's a volunteer organization that I belong to, and they'll call you and a lot of times, photographs are taken in the hospital, and the baby's already passed away, is no longer living.
If you ever talk to a mother who has lost a child at any stage, it doesn't change the fact that this is their baby. You know, regardless of where they are, in what stage. And so this whole conversation started online about what do you do with these photographs? Right? And I say, you know, I personally believe, and I had kind of an interesting journey to become a mother, that the minute the desire for having a child is planted in your heart. That's the start of your gestational period.
So for some people, it's nine months or forty weeks or whatever. And for other people, it is nine years, you know. And the form of how you become a parent doesn't matter. Like I said, I've been a foster parent. I've been an adoptive mother.
I've been an egg donor. I've been a surrogate. I've been a birth mom. And I can tell you that my children are my children regardless of how they entered my life. Right?
And so I think that, you know, when you're experiencing a loss, you've had a miscarriage or you've lost a child. In that moment, yes, those photographs could be very sad, but it is not the whole story. So when I come back to you five years from now, ten years from now, twenty years from now, and you are holding your child, whether you've adopted the child or had another child, successfully or whatever. You don't want to erase that, because that's what brought you to now the baby you're holding, right, or the teenager that you've adopted that is now your baby, you know. And so doesn't matter, right, or the the village of children that you're raising.
If you decide to never try again and don't adopt or have other children, there are still children that become your children in your life. Right? And so that becomes part of your story. And then you don't want to omit that just like your mom dying is part of your story. You don't wanna erase your mother from your memory.
It is sad to remember sometimes that she's gone, but you still want to remember her blue eyes and her hair. And so this mother wants a photograph of their child so that they don't forget what they look like. She wants to make sure that there's evidence that this child existed. Right? So I will do it with joy.
I will do it with respect for that life. And so it took a different perspective for me is that yeah, this is part of their childβs story. And now I've had people reach out after several miscarriages and say, we had a successful birth. And now I have to children or whatever, and they still remember the others. But it's part of that story.
And so if you can think of your swollen, tired days, as uncomfortable as they may be, as part of that story, It helps you give yourself more grace as a parent. The only real thing is you in that moment. And so you don't have to post them. Other people don't need to like them.
They're just for you to sit some day with your children and remind them of, like look at this lumpy couch. This was a hand me down from grandma and that's where I would sit and nurse you, like stains and all. Right? So that's the story you want to tell your children. It could be messy and you know, it spills over.
In fact, I actually find that more interesting.
Molly Vasa Bertolucci:
Totally. Yes. And so valuable for for the people who matter most, you and your family. Right? Like, what is the point of having a perfect home? Who's that for? You know, what's the point of having perfectly coordinated outfits? Who is that for? Who's that serving? Because it's not serving my family.
We're not making memories in a pristine home. That's not where we live. And so, yes, just the beauty and the real life of being a family and moving through the world as someone with little kids, like, this is where we live. This is what it looks like. I love that.
Miranda Hayek:
This is how it is.
Molly Vasa Bertolucci:
When should parents have professional photographs taken of their baby? Is there kind of certain milestones or points in time, especially in that first year that you recommend hiring a professional photographer?
Miranda Hayek:
I would say definitely newborn. They are never gonna look like that again. In fact, by the time you take a home from the hospital, they're already changing. And the sooner you take those photographs, the better. So when you go to the hospital, you call your photographer and you tell them you're heading to the hospital because in the next three to four days, you want to get that in. Two weeks is ideal, but the sooner the better.
And then don't worry about having professional ones done again until about six months. Six months they can sit up, without assistance usually at that point and they're smiley and chubby and they put everything in their mouth and they're just happy. And then a year. Because at a year, they're gonna look like little people, you know, and they're usually at that point either cruising or standing or walking, you know, at that age. Then after the year mark, then you do them once a year. That's kind of the cycle that I like, the the increments.
At home, the temptation, especially with your first child, is to take photographs of your baby every day and you wanna blog it or you wanna put it in a baby book like you said. Aim for, like, once a week, like, to take your phone out and do that. Of course, if you see something cool and you want a photograph, that's fine. And then aim to pick one of those photographs from that time. Put your phone down and just be present in the moment. The rest will just fall where it falls. And try to back up, you know, if not every month at least every three months.
And now with Google Drive and things like that, there's so many more options for you.
Molly Vasa Bertolucci:
What are some of your tips for getting good photographs at home?
Miranda Hayek:
Aim for mid morning or mid afternoon indoors with your baby, near a a filtered light source, like a a window with sheer curtains or something like that. That will give you really beautiful light for your for your family. Turn off the indoor lights in your house and try to make it natural light as possible. Just follow that rule of less is more. Be intentful. Try to be in the photographs or be, you know, present. Even if it's just your hands or your shoulder as you hold them, be okay with other people taking photographs of you, try to gather those photographs in some place and backing those up, you already, your child already is gonna have far more than enough photographs than they ever will need.
If you can remember a key moment and if your child can remember a key moment that pieces together your story that is the best that you can do, and that's more than enough.
Molly Vasa Bertolucci:
Thank you so much, Miranda, for putting this all in such beautiful context of family memories and stories and sharing all of your wisdom. And I so appreciate you coming on the podcast and sharing that with us.
Miranda Hayek:
Oh, my pleasure. You are so amazing, Molly. It's such a pleasure to meet you. I love the work that you do. It's dear to my heart, and it's been such a pleasure to work with you.
And if there's any mamas out there that have questions about any of this rambling stuff that I shared with you, I'm happy to help. Thank you for sharing your audience and your time with me. I really appreciate you.
Molly Vasa Bertolucci:
I hope you enjoyed this conversation as much as I did. If you loved this episode, please share it with a friend, review it, and subscribe to the podcast.B e sure to check out the show notes for links and information about any resources we mentioned in this episode. Thank you for listening.
