This thesis is not about photographic aesthetics or camera performance test, but about under what conditions Lomography is constructed and constricted. Through reviewing the development of the ancestor of Lomography, snapshot photography, I will argue that Lomography repackages traditional snapshot photography as a tool of representation to render everyday life as conscious record in the new millennium. By referring to French artist Christian Boltanski's works, we can find how Lomography is confined to the social convention and becomes another stereotype. Lomography at first emerges as a grass-roots movement responding to the post-Cold War era but now it is transformed into "culture industry." Lomography propagates through the commodity distribution so that it trains a group of royal consumers instead of photographers. What lies behind Lomography is the sale of commodities which reiterate the character of traditional snapshot photography whose function is to increase the image consumption into undreamed of industrial dimensions. Lomography on the one hand refreshes the snapshot aesthetic, and on the other hand it is limited by the commercial character of traditional snapshot photography. Finally, by analyzing the development of Lomography in Taiwan, I conclude that the new generation's lack of knowledge of photography is the motive behind this cult phenomenon.