One of the key elements was the cre

One of the key elements was the creation of distribution circuits that reinforced the distinction between professional photography and the photographs that anyone could create with their inexpensive camera. Using magazines, newsletters, galleries, news-papers, associations, and unions, the new professional photographers reinforced their privileged position as professionals. This had, as a consequence, the separation between the folk art of the amateurs and the fine art of the “photographers” (Christopherson). But while this separation was being shaped, on the opposite side of the spectrum people were increasingly creating snapshots of happy moments in their everyday life, with cheaper equipment and without any intention of circulating them outside the family circle. And, although these photos can be understood as sophisticated constructs of reality, the circulation and meaning largely was limited to the small circles consisting of one’s family and close friends (Bourdieu; Chalfen). As we can see, the visual shaping of specific kinds of images was part of an inscription of those images in networks of knowledge-power (professional, amateurs), which, at the same time, used specific types of technologies, some more specialized and expensive, some more general and easy to use.