The chapter tells Norway's recent history of photography through the discussion of  the work of  Tom Sandberg, Dag Alveng, Siggen Stinessen, Johan Sandborg, Thera Mjaaland, Leif Gabrielsen, Harald Kjærvik, Jens Hauge, Per Berntsen, Tom Martinsen, Lill-Ann Chepstow-Lusty, Hennie Lie, Bente Geving, Vibeke Tandberg, Mikkel McAlinden, Anne Karin Furunes, Ole John Aandal, Signe Marie Andersen og Margaretha Bergman.

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Margareta Bergman (b. 1955) educated at the art academy in Oslo, explored the snap shot genre in her work. In one of her projects Bergman focuses entirely on elbows as a motif. She photographs these particular and central parts of the human body in a sloppy and amateurish style that resemble snapshots captured at parties. In one picture, Elbows, 1997 we can study two persons sitting side by side, their elbows directed towards each other. In front of them we see dirty dishes with the remains after what looks like a pasta dish. The trivial subject matter at first glance releases a sense of uneasiness. Upon closer inspection however, the encounter between these faceless elbows appears to radiate a certain vurnalibility that catches the viewer’s attention. These bodyparts that we rarely give much attention thus seem to have their own secret language.