Quote Originally Posted by Michael R 1974 View Post
Galleries need to sell stuff. Generally, photography is a tough sell. Unlike drawing, painting etc, it is difficult to get the public to see the monetary value in a photograph, because the "hand of the artist" is not obvious. People often ascribe value to things they don't think they can do, or things that look as though a lot of work went into them. If they see a drawing, they see a special skill. When people look at sharp, well exposed, grainless photographs, they think they can do it. After all, the film/sensor records the image, the lens focuses etc. The photographer just has to see what already exists and take the picture, right? Print quality? Nobody sees that or cares, besides perhaps other photographers/printers. In that context, from a marketing perspective, it might be easier to sell photographs that are blurry or grainy or under/overexposed because they are further removed from what the public would normally view as simple photographs. Potential buyers may see them as more than just pictures, and perhaps have a sense of the work the artist put in. A blurry or very grainy print might give the impression the photographer made the picture rather than simply took the picture.

Please note this post is not meant to imply blurry, grainy or "badly" exposed pictures are inherently any better or worse than straight work. I'm just trying to put forth a possible explanation for why we might find more of this type of work in galleries.
Michael, I think you hit the nail right on the head. I have 4 photographs hanging in our office, 1 is a cyanotype toned with wine, another is a lith, and two are straight BW fiber (warmtone). Never once has anyone said anything about the latter two, while the paint-like aspect of the cyanotype gets constant comments. Someone even called it art!