Enormous colour prints that "hold the wall" are the current fashion in museum photography, that's for sure (3 m x 1.5 m, anyone?). This has been so for quite a few years and there's no sign the fashion is running out of steam. Photography is also dominating modern art museum walls, and video is always there too. The current wave of "photographic artists" adhering to this norm are in the 30-40 age bracket, it would seem. I'm sure they would argue that they have to work on a scale that "fits the context" -- of course, the prints are made for the museums in question, so maybe that argument flies. I think it's a response to painting, which has also been getting bigger and bigger. A bit of an inferiority complex, photography's acceptance and even dominance notwithstanding. I don't know... size is immaterial, it's what's in the picture that counts. And here photography has fallen on hard times. The big name museum photographers often try to work with ideas, something that is incredibly hard to do with photography given its many limitations (vs painting). I'm almost afraid to look at these big photographs ("Oh no, it's an 'idea' ", "strike one!", "strike two!", "youuuuuuu're out!"). It's much better when they're just nice nudes, nice landscapes, nice pictures made abstract by the framing so that there is pleasure in puzzling over what the context has been. These photographers often seem to have a big chip on their shoulders with regard to painting. A big-name Finnish photographer has a show that I think is still touring Europe. It showed in Helsinki a short time ago under the title "The New Painting". In the catalogue intro, much was made of this photographer's study of paintings in the Louvre and how she drew inspiration from them. Well, good! And the pictures? Nice self-portrait nudes, sitting on a rock at the seashore, standing in a river, standing on a hill, etc. As straight-forward and pure as large-format colour photography can get, absolutely nothing to do with painting except that they're illusions of three-dimensionality on a two-dimensional plane. The most interesting and revealing thing about the show was what it wanted to be, rather than what it was.