Instant photography is gaining its popularity by the sixties and acquires the status of works of art. This was due to a change in expectations regarding photography. Spontaneity, courage, spontaneity, compositional chaos, a special relationship to time and events creates a sense of reality, but at the same time superimposed by symbols.

Instant shooting with the fullness of the expression of real life influenced the further development of photography, and also asked social and aesthetic questions about the meaning of photography.

Snapshots attract with their disorder, obvious imperfection, characterized by a free or impulsive approach, ignoring high quality, authenticity. The topics mainly touch on everyday reality, show real people doing their own thing. This is because artists use the "instant photography aesthetic" to capture their lives with intense candor, without embellishment or editing. Images may be distorted, include foreign objects, or be out of focus.

Belarusian photographer Aleksey Naumchik, in one of his photo series "At Minsk", uses instant photography to show modern Minsk youth. With this project, the photographer tries to get to know himself, traces the changes that are taking place in society and in the urban space, or what the new generation has to do with these changes. With the help of a photo of his city and friends, Alexey tries to answer the main question: "Who are we, the new generation?".

The photographer often works with issues of emptiness, loneliness, identity, generation, belonging, sexuality, and control through immersion and self-definition.