The Alexis Rodriguez-Duarte in collaboration with Humberto "Tico" Torres photography collection contains exhibition material, photographs and published works created by Cuban-born photographer Alexis Rodriguez-Duarte (b. 1962) in collaboration with Tico Torres.

The collection includes biographical and professional information on Rodriguez-Duarte; press releases and invitations to exhibitions of the photographer's work; and copies of publications that have featured his photography. The collection also contains signed copies of Americanos: Latino Life in the United States (1999) and Presenting Celia Cruz (2004).

The Asela Torres Photography Collection contains digitized photographs and published materials featuring the photographs of Cuban-born theater photographer, Asela Torres.

This collection is divided into two series. Series I contains digitized photographs taken by Asela Torres at various theater events and performances. These digitized photographs are accesible through the University of Miami Digital Collections website. Series II contains original theater programs, pamphlets, and ephemera featuring photography by Torres.

Born Linnea Eleanor Yeager in March 13, 1929, in Wilkinsburg, Pennsylvania, "Bunny" gained international fame as both a model and a photographer. She moved to Miami at a young age and first attracted local interest as a model, winning several pageants and gracing the pages of popular magazines. While she was modeling, she developed a knack for designing and sewing together her own bikinis, and her style became rather prolific in the fashion circuit for many years after.

Since creating portfolios was rather expensive while Bunny was trying to break out into the modeling industry, she was motivated to learn photography and took several night classes to hone her abilities and create her own portfolios. She eventually developed her signature method of photography that allowed her to take pictures of models using natural light through the "fill flash" method. Her style helped to reinvent the genre of nude and pin-up photography, taking it from its roots of overt raunchiness and elevating it into an art form that centered around playful sensuality and provocativeness. Her photos have been featured in Playboy, Redbook, Cosmopolitan, Esquire and many other big-name magazines, and she was also credited in helping to make Bettie Page into a household name as well as other famous pin-up models such as Lisa Winters. Her career also includes several self-penned books, including such titles as How I Photograph Myself, How to take Figure Photos, Photographing the Female Figure, and How I Photograph Nudes.

Bunny Yeager eventually passed away in May 25, 2014 in North Miami, but her legacy as one of the leading pioneers of pin-up photography remains. Her collection captures her eclectic history with an array of scrapbooks, correspondence, ephemera, photographs and clippings, all which illustrate her passion for her work.

The E. G. Barnhill Collection contains negatives of Florida homes and birds, as well as glass plate negatives of Florida scenes. The collection also contains hand-colored postcards by Barnhill depicting Florida scenes (ca. 1910s-1930s), early Florida ephemera,  several biographical pages and scrapbooks put together by Barnhill with many resourceful historical clippings from the early half of the 20th century on pirates, Native Americans, archaeological exploits, early technology, and treasure hunting.

This collection is comprised of approximately 22,000 items of mixed media (slides, silver gelatin prints, negatives, and color prints, among other formats).

The Peggy Fleming Photograph Collection contains photographs taken by Peggy Fleming and ephemera regarding her work in Cuba. The collection contains mostly black and white photographs taken of everyday people, street scenes, homes, and family life in Cuba during the early 2000s.

The collection contains materials related to Fleming’s Sí Por Cuba project when she was a photographer with the ASSIGNMENT: CUBA 2000, arranged by the Maine Photographic Workshops and Rockport College in cooperation with the government of Cuba. These materials include 1 color print and 39 black and white contact sheets, an inventory of the photos with descriptive information, and ephemera related to the 2002 exhibition of the photographs.

The collection houses additional negatives and contact sheets documenting Fleming’s two weeks in Cuba in 2000, as well as travel documents, a journal Fleming kept on her experiences, letters, and emails related to the trip.