These more than 8,000 images document the history and development of South Texas and the border. The collection features the life's work of commercial photographer Robert Runyon (1881–1968). Topics include the U.S. military presence in the area prior to and during World War I and the growth and development of the Rio Grande Valley in the early 1900s.

A special section presents nine of Runyon's 350 photographs of the Mexican Revolution (1910–1920) in Matamoros, Monterrey, Ciudad Victoria, and the Texas border area from 1913 through 1916. "Maps of the Lower Rio Grande" offers a number of topographical and military maps depicting the region. The website also offers essays on the revolution and on Runyon.

Created to commemorate the 100-year anniversary of the San Francisco earthquake, this exhibit and archive features an extensive collection of primary source material, an interactive map, and a 360-degree view of the damage to the city. The primary sources include thousands of images and text files available, offering more than 8,000 photographs, 500 cityscapes, and 500 letters, as well as a host of additional resources, such as broadsides, oral history texts, periodical articles, photomechanical prints, reports, and stereographs. Visitors can browse the archive by genre or subject or search by keyword, subject, genre, or geographic location.

The exhibit has five galleries, each with several text/photograph displays: San Francisco before the fire; the earthquake; the fire, including a map showing burned districts; the story of refugees and survivors; and reconstruction. The interactive map divides San Francisco into 10 regions, each of which can be browsed or searched for images taken in that region. It also includes 11 aerial cityscape views. The 360-degree panoramic view of San Francisco shortly after the disaster is composed of 11 separate photographs taken from the roof of the Fairmont Hotel.

During the New Deal and World War II, a period marked by the impulse to capture in writing, sounds, and images significant aspects of American life and traditions, government photographers with the Farm Security Administration (FSA) and the Office of War Information (OWI) took hundreds of thousands of pictures. This website features more than 150,000 photographs from this project. The photographs document the ravages of the Great Depression, scenes of everyday life in small towns and cities, and mobilization campaigns for World War II.

This site also includes approximately 1,600 color photographs and selections from two popular collections: "'Migrant Mother' Photographs" and "Photographs of Signs Enforcing Racial Discrimination." The site also provides a bibliography, a background essay, portrait samples of 18 FSA-OWI photographers, and links to five related sites. This is a great source for studying the documentary expression of the 1930s and 1940s.

This collection presents the complete run—from February 8, 1918 to June 13, 1919—of the "official newspaper" of the U.S. Army fighting forces during World War I. The American Expeditionary Forces (AEF) were formed in May 1917 following U.S. entrance into the war. Stars and Stripes was created by order of the AEF supreme commander, General John J. Pershing, to strengthen morale and promote unity among soldiers. Professionals from the newspaper industry joined the staff, including a few well-known journalists. At its peak, the weekly newspaper reached more than half a million soldiers, providing news of the war, sports reports, cartoons, news from home, and poetry.

A special presentation includes essays on the newspaper's contents, staff, advertising, military censorship, the American Expeditionary Forces, and the role women played in the war effort. Search the full text or browse individual issues.

More than 1,000 photographs depict Civil War military personnel, preparations for battle, and the aftermath of battles in the main eastern theater and in the west in this collection. Photographs also include Federal Navy and Atlantic seaborne expeditions against the Confederacy, Confederate and Union officers and enlisted soldiers, and Washington, DC during the war. Most images were created under the supervision of photographer Mathew B. Brady. Additional photographs were taken by Alexander Gardner after leaving Brady's employment to start his own business.

The presentation "Timeline of the Civil War" places images in historical context. "Does the Camera Ever Lie" demonstrates the constructed nature of images, showing that photographers sometimes rearranged elements of their images to achieve a particular effect. This website is useful for studying 19th-century American photography and Civil War history.

This massive, searchable archive compares two Shenandoah Valley counties during the Civil War period—Augusta County, VA and Franklin County, PA. These two counties were divided by 200 miles and the institution of slavery. Thousands of pages of maps, images, letters, diaries, and newspapers, in addition to church, agricultural, military, and public records provide data, experiences, and perspectives from the eve of the war until its aftermath. The site furnishes timelines, bibliographies, and other materials intended to foster research into the Civil War and the lives of those affected by it. The website includes a section on John Brown and one entitled "Memory of the War," presenting postwar writings on battles, the lives of soldiers, reunions, obituaries and tributes, and politics.

This collection of more than 1,230 images depicts the enslavement of Africans, the Atlantic Slave Trade, and slave life in the New World. Images are arranged in 18 categories, including pre-Colonial Africa, capture of slaves, maps, slave ships, plantation scenes, physical punishment, music, free people of color, family life, religion, marketing, and emancipation.

Many of the images are from 17th- and 18th-century books and travel accounts, but some are taken from sketches within slave narratives, Harper's Weekly, and Monthly Magazine. Reference information and brief comments, often an excerpt from original captions, accompany each image. Although there is no interpretation or discussion of historical relevance, these images are valuable for learning about representations of slavery in American slave societies, especially in the Caribbean and Latin America.