@paul13walnut5 and Mt Spokane Photography
That is definitely right on...I started shooting on medium format (RB/RZ, twin-lens and on to Hasselblad). You only had 10/20 shots, so you took your time and made each frame count. End result was that it made you slow down, study your frames, and in the end, got what you wanted with usually the first shot. Then, there were the wasted rolls where you suddenly realized your (hand) meter was set wrong and you under/over exposed by two stops.
Portrait work then was done by seasoned pro(ficient)s who got your shot in one or two frames and the result looked like it was painted by an old master. Nowadays, everybody has a DSLR or P&S that's "20mp" so that MUST put out pro results. The end result is that people feel "professional" portrait work is either 1) the Walmart portrait studio or 2) easy to do themselves at home with their camera. Some people realize the fault in this and they seek out the hard-working, well-versed portrait shooters to get a timeless image. Others have just decided that the (realistically, poor) work they are getting is just "good enough".
Then, you have the pro labs, with people who are well studied and skill at color correction, cropping, and generally getting the best image from the neg/file. They spend hours calibrating their equipment, balancing chemicals and mastering their craft. But, suddenly, it's now acceptable (or to some "professional") quality to have the prints done at the local CVS/Walmart by somebody who doesn't even know the color wheel, let alone how to deal with a RA-4 process that's too hot or putting out prints that are too magenta. They probably didn't even notice that the print was off color.
Now, I shoot mostly for commercial clients, doing large ad/poster/billboard stuff. I shoot my old 1DsMarkIII thats "ONLY" 21mp. I used to do a lot of portrait work and all that stuff. However, I came to the realization that the hours of prep to build a set, paint a background, light that set, block it from all flare for the best contrast, choose the proper props/wardrobe to match the client was pretty much a waste of time - they just didn't care. Personally, I don't use any of the new features - low light, etc. I usually shoot at ISO100-400, full heavy tripod, flash or studio strobe if needed or long exposure if not. I have no need for that 1Dx.
It's not being elitest, but rather what the state of the market is. There's very little care about the output nowadays. It's about the 900000 frames from the cellphone cameras, uploaded to Facebo*k or some other website. Oh, you want "artistic"? Just push it to some online site that'll smoosh all the pixels around, mute the color, and viola! If not, just hit a few buttons and HDR-color boost-add artistic frame-move the camera around during a (unknown to them) 5 second exposure-add 9 gels to the flash for "effect"-who needs a tripod-set the $3000 lens to f1.2 (even though the subject requires much more DoF to be in focus)-kick in the 9fps mode will get you the "perfect" shot.
Most people never look at their shoebox of images from 20 years ago, until a wedding or funeral - and yes, I've shot those too. It's the same nowadays. Just push it online, no matter what the quality/composition/etc and watch the "it's great" comments fly in. They'll go buy that $300 camera that auto does all this AND pushes it online for them automatically. They don't need (or want) the $900 body. They may buy that once, realize it doesn't do everything automatically, and then go back to a P&S that does. Others will take that P&S and go become a "wedding photographer". They'll say that it's "their style". And, the market will bear it as there are people who'll think that's what wedding photographs should look like. I've had clients ask me if I could make all of their wedding pictures look like Instacrap shots.
It's what the market sees as mainstream, so it'll carry on, just as I will carry on using my OLD 1Ds3 - there's nothing "elite" about that.