Film/analogue photography of a very high technical, aesthetic and overall production standard will always be considered as bespoke fine art, but how it is produced, via digital or analogue, will be the tipping point. There is no evidence I can see that digital prints have been assigned "fine art" status, and those produced in traditional wet darkrooms, colour or monochrome, have a higher appreciation in the public eye, even if the means by which they are produced does not 'register' as modern/fine art. Ilfochrome Classic prints, conservation frramed, are analogue in their production from start to finish and not just speaking of my own sales but that of fellow professionals when we were all printing to this media, it sold very well and consistently high values (all things else being equal, it was not just the media, but the holistic 'vision' of the image) and remains the benchmark for photographic fine art. As Ilfochrome no longer exists, people owning these images are treating them as an investment that will likely appreciate in time because the image cannot be made again to that liking, only via alternative digital means. Of course, B&W darkroom-produced work can also have a high value, but everything must come together to be able to present it as fine art to an increasingly naive public hoodwinked by this digital crap.