One of the consolations of struggling with large format photography is that a narrative of art that had been objectively stated in the history of art, had come to an end. We large format photographers now live in an art world defined by the internet -- art objects are created with a consciousness of these networks within which it exists from conception and production to dissemination and reception. Internet art defies the conventional art museum/gallery model that has dominated the art world for so long. Though photographers continue to exhibit their work in galleries, screens like computers, iPads and smartphones are now the primary mode by which contemporary art is seen.
Art history is generally thought of as a linear progression of one movement or style after another (Romanticism, Realism, Impressionism, Post-Impressionism, Cubism, Surrealism, Abstract Expressionism etc.), punctuated by the influence of individual geniuses (Delacroix, Courbet, Monet, Cézanne, Manet, Picasso, Pollock etc … ). Our perception of art was based on a linear, historical progression of one stylistic approach after another. This is a narrative (a certain linear development ) as distinct from a chronicle (x happens, then y happens, then z, and so on).
The above art historical narrative is over in that a developmental sequence of events in art historical development has come to an end. This end, roughly marks the shift between modernist and contemporary art, and the emergence of an awareness that art can be made of anything. That means there is no single meta narrative for the future of art. This liberates a large format photography of nature presented on the internet from its disenfranchisement by the curation in the conventional art museum/gallery model, which is primarily concerned with the core question of defining what art is. Historically, large format photography of nature was excluded by the curators in the art institution.