Quote Originally Posted by Poco View Post
I believe several factors are at play...
-- Large scale prints, as are the rage and expection now, often require LF cameras which lend themselves, quite insidiously, to "lining things up." It's a trap I often find myself struggling against.
I was thinking about the economic factors when I was writing the OP. But what is the benefit to a gallery (or the Artist) if all the photographs start looking the same?

I know the that there are "no original ideas," and I don't want to advocate that people go "be different" just for the sake of being different. But I would like to see photographs are some way more personal.

Quote Originally Posted by Poco View Post

-- The "dead-pan" aesthetic so popular now favors an uncompromising straight-on type photo.
Where did this "dead-pan" aesthetic orginate? Yale? Duseldorf? Minneapolis? I looked at a Thomas Struth book earlier today, and while it could be described as that, I don't think it is. There is some life to his work, but not so in what I have been seeing lately, and I can only really attribute that to the work not coming from an organic place in the photographer. That they see what is being published and exhibited, and they jump on the bandwagon.