All you need is love ? The preservation of photographic collections here , there , and everywhere

Preservation of photographic materials, both physical and digital, presents numerous challenges, and photographic collections are at risk worldwide. In response to this danger, regional partners have worked with international organizations to forge global training initiatives and platforms centred on experiential learning and designed with curricula tailored to specific climates, geographies, needs and outcomes. This paper highlights three forward-thinking efforts. The Middle East Photograph Preservation Initiative (MEPPI) has provided training to collections in 16 countries. Préservation du Patrimoine Photographique Africain (3PA) has connected and empowered talented African archivists, artists and collections care professionals. Training efforts by APOYO have sought to build a regional network to preserve collections in Latin America. By using problem-based learning, advocacy and community engagement, these programmes offer new paths for collaboration in an effort to protect a critical piece of our world heritage. Photography connects the world. The preservation of these

Preservation of photographic materials, both physical and digital, presents numerous challenges, and photographic collections are at risk worldwide. In response to this danger, regional partners have worked with international organizations to forge global training initiatives and platforms centred on experiential learning and designed with curricula tailored to specific climates, geographies, needs and outcomes. This paper highlights three forward-thinking efforts. The Middle East Photograph Preservation Initiative (MEPPI) has provided training to collections in 16 countries. Préservation du Patrimoine Photographique Africain (3PA) has connected and empowered talented African archivists, artists and collections care professionals. Training efforts by APOYO have sought to build a regional network to preserve collections in Latin America. By using problem-based learning, advocacy and community engagement, these programmes offer new paths for collaboration in an effort to protect a critical piece of our world heritage.
Photography connects the world. The preservation of these rich and endangered resources -from early dry plate negatives to albumen, silver gelatin and digital prints -inspire, connect and inform communities large and small, local and global. Photographs catalyse cultural exchange and strengthen identity. They are treasured across religious, ethnic and socio-economic divides. So, too, are the rich audiovisual materials that engage our minds. These materials unite humanity in powerful ways. Their preservation is essential, and with audiovisual materials especially, ICCROM's SOIMA programme is a leading advocate for collections care investment, education and training, and global partnerships (Oomen, 2015). While this paper focuses more precisely on issues associated with the global preservation of photographic holdings in archives, libraries and museums, the challenges cited and lessons learned resonate across other media. 1 Whether housed in the Americas, Africa or Asia, many photographic collections are at risk. Few systematic inventories exist; the number of collections is incalculable and growing exponentially, and many remain unknown and unexplored. 2 Located in climatic conditions ranging from desert to rainforest, photographic materials are threatened by exposure to unsuitable environmental conditions, poor management practices, improper housing and handling, 1 Many of these topics have been raised in past talks and publications, often co-authored. I thank my colleagues worldwide for their partnership in photographic preservation initiatives of all kinds and their deep commitment to this field. They have contributed to and/or inspired many of the thoughts incorporated in this essay. More detailed information may be found in other publications, including Jürgens et al. (2012) and Kennedy and Lavédrine (2014 Collaboration is key to our success -and lessons learned from recent educational initiatives must be shared broadly, including the Middle East Photograph Preservation Initiative (MEPPI) and Préservation du Patrimoine Photographique Africain (3PA). These programmes offer interesting training models, centred on problem-based learning, advocacy and community engagement.
While these projects concentrate on the preservation of photographic materials -analogue and digital -lessons learned are relevant for dealing with other media collections.
Impact assessment, project evaluation and sustainability remain challenging, yet we have seen substantive results.

Middle East Photograph Preservation Initiative (MEPPI)
The practices, advocacy and emergency preparedness and response. The workshop was followed by a distancementoring period with practical assignments through which participants were encouraged to apply the skills learned at their institutions before reconvening for a follow-up meeting to strengthen teachings and share accomplishments and challenges. Although originally intended to be a discussion- In doing so, we should work with global foundations and local corporations to build financial support -connecting closely to their mission, vision and marketing strategies.
Corporate philanthropy can and must be creatively connected to the preservation of our at-risk photographic heritage. Investments by regional airlines or mobile phone industries, for example, can preserve our history, while Fortune 100 companies may wish to promote cultural understanding via improved preservation. Such messages resonate with the public and build welcome attention to corporate partners. We all benefit.
Indeed, our work in the preservation of photograph and audiovisual collections has the capacity to connect communities, build visual literacy and economic growth, promote tourism, enhance cultural identity and promote peace and reconciliation. Connecting to these societal needs may broaden avenues of support and create new opportunities for engaged partnership and leadership.
While fundraising opportunities and goals may vary considerably among projects and locales, the guiding principles are universal. These include a focus on education and outreach, thoughtful planning with accurate timelines and transparent budgets, risk assessment, regional and community partnership and measurable outcomes.
Photograph preservation initiatives that assess and address documented risks, build knowledge via learning and scholarship, and are collaborative and sustainable are best.
Cultural institutions may wish to pursue support for pilot demonstration projects that educate and highlight their high-profile collections -prints, negatives or sound recordings -in greatest need or of the greatest significance.
Examples may include the rehousing and digitization of early gelatin glass plate negatives (never digitize without considering the longer-term preservation of the originals), the storage of oversized albumen and silver gelatin photographs in protective sleeves and appropriate cabinetry, or the boxing of difficult-to-handle albums for added protection from handling. This work may be conducted by well-trained and supervised senior volunteers or young scholars in the arts and humanities, creating a rich learning experience and a pipeline for professional growth.
Interesting projects that connect collecting institutions -via Love -combined with passion, hard work, strategic thinking, collaboration, education and advocacy -is all we need.
Working together we can continue to advance, innovate and strengthen photograph preservation efforts and to ensure that these rich resources are protected and preserved for humankind. In doing so, the prominence and value of photographic conservation will escalate and new financial and other preservation resources will be identified. Engaging others in our work is essential; connecting with SOIMA's ten-year strategy will ensure our success.