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Consists of photographs taken of social events and carvers connected to the Tait project, but not officially part of the project itself. Jensen was invited to a number of feasts and parties hosted by the Tait family, which she often photographed, making a gift of the pictures to the family members. At one of the parties, a family member performed a dance wearing a mask made to represent Jensen and her camera, complete with the sound of the shutter. In addition to events, Jensen met a number of artists, both Indigenous and non-Indigenous, through her acquaintance with the Taits, and she often photographed them.

File consists of photographs of a dance performance at the Pacific National Exhibition grounds in Vancouver 1998. Norman Tait had completed a private pole commission that was publicly carved at the PNE, and he formed a group of Nisga'a dancers to commemorate the event.

Subseries consists of materials related to Vickie Jensen's collaboration and research with the Tait family, with particular emphasis on biographical information for Norman Tait. Materials include interviews with Norman Tait on his art and personal history, Norman Tait's CV and autobiography, newspaper articles on Norman Tait's artwork, images of Norman Tait's artwork, biographical materials on Isaac Tait (Norman's son), related publications on totem poles and carving, and materials relating to Norman Tait's death.

File consists of an interview with Norman Tait, by Karen Duffek, in Vancouver, BC; the interview discusses the process of learning Nisga'a stories, language, and art (incl. poles by Oye'a'), Tait's youth and young adulthood, themes in his artwork, and experiences studying Indigenous belongings in museums.

File consists of handwritten stories "The Frog Spirit Woman" and "Raven Giving Light to the Earth," and notes on prices for totem pole materials.

File consists of materials relating to Norman Tait's death, including a funeral pamphlet, an obituary, several messages from those close to Tait, Vickie's notes of family meeting immediately after Norman Tait's death in Vancouver, and burial in Rupert after a potlatch.

File consists of an ethnography thesis regarding the creation, raising, and cultural/historical context of Norman Tait's Big Beaver totem pole, which was raised at the Field Museum of Natural History in Chicago, Illinois in April 1982. The thesis was authored for Fisher's M.A. degree in Anthropology at UBC.

File consists of Isaac Tait's Nisga'a art on thin paper, some addressed to Vickie Jensen.

File consists of photographs of Shari (now known as Shera) Street. Street is a watercolour artist, and most of the photographs were taken for publicity purposes.

File consists of photographs of potter Judy Cranmer and many of her pieces. Doug Cranmer, with whom she had lived, taught her to create the designs that she painted free-hand on her pots.

File consists of photographs taken for Ken Hansen of a group of Salish weavers on Vancouver Island. Hansen was promoting the group at the time.

File consists of photographs of author Hilary Stewart. The purpose of the photographs was to find a cover shot for her book "The Adventures and Suffering of John R. Jewitt."