Snapshot photography is usually defined as having the following characteristics. They must be taken by a snapshot camera Kodak to Holga); snapshot formats are limited in number and small in size; snapshots are generally anonymous; snapshots tend not to be (pictorially self-conscious; snapshots are made to memorialize their subjects; snapshots have an arbitrariness in that unintended effects, large or small, are the rule. They are taken by amateurs who more or less snapped the shutters of their cameras.
Art Galleries and museums have started constructing snapshots as belonging to the folk or popular art tradition. The folk or popular art tradition is often interpreted as vernacular photography implying naïve or primitive art. This is then distinguished from art photographers from Jacques-Henri Lartigue to Nan Goldin have self-consciously borrowed the snapshot look as a stylistic manner.
Yet we know from postmodernism that there is no direct correspondence between an photographer and his or her photo since it is impossible to see through the web of language to some underlying reality. Our notions of subjectivity--the artist, photographer, amateur-- are the product of language itself. The subject is the product of photographic language rather than its creator. The point of making reference to myself and my own intentions is to indicate the perspective from which my narrative is being constructed.