 Hi, today is about the Berry Boys, the little project that could. In 1998, Te Papa required over three and a half thousand glass plate negatives from the Berry & Co photography studio in Wellington. Amongst the collection were 195 portraits of First World War soldiers and their families. The only clue to their identity being an unscribed surname, often misspelt, and their uniform insignia. In 2002, in the lead-up to the First World War centenary, a research project was proposed to identify the soldiers. It was thought that perhaps twenty or so could be identified and their war experience has researched. As the possibility of an exhibition or a box had been flatly tuned down by the organisation, our aim was simply to enhance collection documentation in order to make the photographs more publicly accessible. We decided to run the project for around four months initially and then to reassess it and see where we're at. By the end of April 2015, the project had given, this modest research project, had given rise to the following. A full episode of Sunday television programme on TV1, a television documentary, a book, a small exhibition, a poster campaign, and two outdoor projects facilitated by the Wellington City Council by the projection projects. And the Berry Boys also came to adorn the New Zealand Defence Forces building at the corner of Buckle and Taranaki Street. The images have also appeared in many projects that we have had nothing to do with. And today we only have 35 soldiers left to identify. So a little of this was planned, so how did it happen and what have we learnt? Firstly, good decisions were made regarding the digitisation of the collection at the very beginning. The collection was scanned to Preservation Master Standard, the Zoom capacity tested, and this was the foundation of the whole project. The group was a really good size compared to, say, 5,000 portraits. IDing 195 images seemed doable, not just to us, but also the public. And we've certainly learnt that a small focus project can have immense impact. We decided not to go to Lone, but to try crowdsourcing for the first time. And as we didn't have a budget, we worked with what we had, our collections online, social media platforms and free platforms. And we went to where we thought the interested people would be. As well as collections online, we uploaded the images to Flickr alongside a similar plea for help from the Imperial War Museum. We thought Flickr's comments field would be useful. It was something we didn't have. Although, in the end, collections online proved to be the most popular place. We also placed articles in traditional media, read by the generation we were hoping to reach, such as Memories in New Zealand Geographic, which directed them to the web pages. And we asked relevant organisations, such as the RSA, to let their members know about the project. And then it was interesting that where the community took the project, one of the most interesting places it ended up was actually on Trade Meas Community Notice Board, and that's where we had one of the highest number of redirections to our site from. During the project, we discovered the power of the Te Papa blog. In 2011, blogging was very much an optional activity for many curators at Te Papa and was often seen as a sort of a fun thing to do rather than real work. And through this project, we learnt that the media was watching it and the blog actually had more communicating power than any official press release. A newly blog post inspired stories of the Dominion Post in Radio New Zealand, which in turn created large bikes and acquisitors to collections online, saw genealogists volunteer their services, resulted in many possible identifications and created interest from production shed TV, who brokered the TVNZ Sunday piece and went on to make the documentary. It also created ongoing interest from the DOM post in Radio New Zealand. Now in 2015, we have a blog schedule and annual KPIs. We came to understand the new media ecosystem and how to maximise it. Due to the age of our target audience, TV, radio and newspaper still proved to be the most powerful mode of communication, but digitisation of all these genres, however, meant that the articles were also placed online to be re-watched, re-read and shared and this is how we came to meet the Bury family in Australia. We managed through this process to do a lot of sharing and a lot of planting of material. Crowd control. Responses from radio and newspaper coverage taught us to be well prepared by the time television stepped into the project. It also enabled us to validate additional investment by the stage. So when the TV, Sunday TV programme aired, we had a hotline, a Bury Boys email address and a dedicated web page which provided a single focus on the Bury portraits linked to TVNZ's website. This project at this stage became heavy in people contact. People wanted to talk and to tell their stories and by this stage we had a staff member on the project 80% of the time and again we were able to validate this to management because of the project's track record of engagement. And of course the timing was right. The project naturally maximised the heightened interest in World War One and capitalised on digitisation projects across the Glam sector and we're particularly grateful to New Zealand archives for digitising their service records. So we love your scanners. And unturned on all our documentation, we included links to service records of War Graves Commission and Senator so we could send our audience on greater journeys. What we have found this year amongst the fervour of World War One activity is that people searching for their relatives online are finding them on collections online. So we have come back to our initial circle and we've achieved our initial goal of increased accessibility. We've also enhanced collections online over the course of the project. In June 2014 Papa made 30,000 images downloadable for free in the highest resolution we have and this has enabled people like Doug here to download our Bury images without any involvement from ourselves and it's seen a good take up. But we've also learnt that accessibility is nothing without telling people about it. We've found that we've had to be very vocal about telling people about what we're doing, what we have and that they can use it for even though we've got that message about free to download on our site people don't always read it or believe it. And we've also got to the stage with the Bury boys being so popular we've had to remind people that there are actually other soldier portraits in the country, not just them. We've learnt very much that a small, lean, agile team can often outperform large complex teams and we generally work in a very large complex team here at Papa. And two of the four principles of the agile manifesto were evidence in this project, firstly responding to change over following a plan and individuals and interactions over processes. I think we thought this was common sense until we were told it was agile within A. So what next? I think following the Bury boys success we are now focusing on another group of portraits, 19 portraits of Chinese New Zealanders. Again it's a manageable group and we're applying what we've learnt. We started modestly with a narrative and a group on collections online and an email address. We're proactively seeding the project amongst New Zealand Chinese research and community networks both in person and through the many existing digital networks. Our timing is good, it's the 150th anniversary of the arrival of the first Chinese businessman in New Zealand but it's still a year that's witnessed an outpouring of racism against Chinese New Zealanders and there was a heightened interest in the history of Chinese New Zealanders and their contribution to our society. And we're capitalising again on digitisation we've carried out amongst the Glam sector in particular the Turnbull in New Zealand archives who've been committed to digitising records relating to Chinese immigration. And within the first week of this project going live we've already received about eight identifications and leads but in summary I think the success of these two projects while digitisation not just across the Glam sector but also the media sector has made these two projects possible or at least their speed it's enabled connectivity across time, geography and media but as we've been hearing continually today they have been really powered by human empathy and a desire to share community memories.