Maybe one of the reasons why I love a delicate drawing so much is the difficulty with which we try to reproduce it.  The thing is created on an impulse.  The execution might be laborious and time consuming, but the drawing, or set of drawings, is a single or set of impulses, like a sequence of mini electric shocks.  I think the composition is then objectively disjointed in a sort of Faulknerian stream of consciousness sense, but unified by the source of the impulses. 
That just can't be reproduced, no matter how nice a photograph of the work is made.  The labor involved in the process of tweaking a reproduction to the point of reflecting the reality of the material object is in polar opposition to the impulse of creation.  That's why, after an hour or trying to get my scans to look just like the original drawings, I decided to leave them as is.  People don't watch videos of Marina Abramovic's performances because it's antithetical to the theoretical underpinning of the work itself.  I also believe that the drawings I make for this class exist only in the context of the pin-ups and the memory of those pin-ups as you, Tony, look over this blog.  And, perhaps, the scans themselves become an entirely new work....no?  Why try to reconcile the digital with the analog when we can, instead, allow them to live in harmony?