I think a big part of the problem Stephen is pointing at is the fact that in the end, unless we are creating work solely for display in our own homes, how it is displayed is utterly beyond our control. Once I sell a print, I have no say-so in how the buyer mats, frames, and hangs the work. I can certainly provide best-practices guidelines to them, but if they want to be so stupid as to put a black-and-white print under a red mat in a blue frame and hang it on a peach wall, I can't stop them. Hell, I'll be lucky if I can talk a gallery into adjusting their light levels or painting their walls something other than museum white. Just make the best print you can, frame it and mat it in a neutral frame and mat, and let the content of the image sell itself. Frankly, even serious photography collectors aren't going to give a rat's ass if there isn't visible separation between the Zone III and Zone III 1/2 shadows of a pine tree in the lower left corner of a print - if they like the image, they'll buy it. Technical mastery and/or virtuosity are wonderful to have, and make for a nice sales pitch for the artist, but so long as the lack of technical mastery doesn't get in the way of conveying the message of the image, it will be a non-issue. I might use it as a criteria in choosing between two different prints of "Clearing Winter Storm", but if I'm deciding between "Clearing Winter Storm" and "Black mountain, Cerro, New Mexico" (Paul Strand, if you don't recognize the title), I'm not going to buy the Adams because he has better tonal separation in the pine trees.