Here's a few things I can think of off-hand, mostly due to the cell phone camera revolution. The selfie, and specifically the selfie portrait distance. It takes some practice and creativity to make a flattering image of oneself holding a camera at arm's length. Thankfully we're past the "duck-face" era. Purists would probably be revolted at the distortion of the proportions of the face, but there's no doubt that's an aesthetic feature of the tool, if not an outright deliberate choice. Along the same lines, is the Instagram filter and its analogs. Filters can range from a color cast, to altering the size or color of the eyes, to adding cartoon-like features to the subject. There's most likely going to be a portion of the current generation who has few photos of themselves saved that aren't manipulated in this way. This is just a fad, but it's opened the door for the general public to manipulate their photos without any professional photographer's tools.
Again, with the front-camera, since that seems to be the icon of the era. The portrait lighting dual-camera, or IR contour detection of the newest high-end cameras (like the iPhone X). Absolutely ordinary people with no aspirations to be photographers can take quite good portraits, well lit, on a very small sensor but with an apparent shallow depth of field. It's a particular look, and rather generic.
The digital era, most recently, as camera sensors have surpassed 35mm film, has changed the baseline for what photography is in the hands of the masses. Aesthetically, the grainy mushy Instamatic is gone. The strong shadows of the flashcube look is a thing of the past. This is an era of seeing clearly, with precision, as if under a microscope. (edit: due in part also to the deep depth of field of this format)
What's certain is that the tools and the engineers behind the tools are driving much of the look of the post-film era. The defaults are very good. But it takes photographers and artists to supersede them.
PS One thing that stands out, that's absolutely under-represented in history is what I'd call the "evening photograph". The photographs taken of people together, or outside, in the evening, at dinner, wherever, without flash, utilizing the low-light capabilities of the digital sensors in their phones. This is a particular look and ambiance, that although such things were possible 30 years ago, the lenses were necessarily faster, and on a larger format, didn't have the deep depth of field.
