When Hurricane Milton threatened Tampa last October, photojournalist Christopher Morris faced a familiar challenge: protecting his archive from destruction. For days, he lifted folders of photographs onto 10-foot-high shelves inside his home while also rolling metal filing cabinets into a U-Haul in his driveway — to keep his archive above the storm surges. His life’s work — hundreds of thousands of photographs, negatives and digital files taken over decades — hung in the balance. When the storm veered south, sparing his home, Morris knew he had narrowly escaped catastrophe. “I can’t keep gambling with it year after year,” Morris said. “I have to find a solution.”Morris’s dilemma is not unusual. His work and countless other photographic archives like it represent our collective visual history. Institutions such as the Library of Congress, which holds 16 million images, play a crucial role in preserving photojournalism, yet the surge of at-risk archives far exceeds anyone’s capacity. Adam Silvia, a photography curator at the library, usually receives two or three inquiries each month from photographers or their estates hoping to place a lifetime of work, but only a fraction can be accepted. The library holds just 12 complete archives of individual photojournalists. And there are many more photos than places to house them, digitize them and make them publicly available…”