John W did a great job in summarizing the differences between scanning an object and re-photographing it, but let me add my 2 cents (as usual, LOL). Especially cogent are his remarks that both scanning and re-photographing a print require skills that take time to develop, especially the latter.
IMO, most pro photographers have easy access to both techniques, either by subcontracting the work or doing it themselves. So, they would likely make such a decision on the basis of the what's the best technique for the particular object, not on their level of skill and what particular equipment they personally own.
Re-photographing (done well/correctly) is clearly the method of choice if:
- the object is larger than even large bed specialty scanners (ie, more than a few feet on a side)
- the object can't be moved (eg, a painting that was done directly on a wall, not on a canvas)
- the object has some significant depth or texture (...think deep-pile rug or an object with creases or tears)
- the object exhibits "glints" (ie, it specularly reflects light at certain angles like some impasto oil paints - crossed polarizing filters help spectacularly with this)
- you want to be able to adjust the amount of texture that is portrayed in the digitized version (eg, by changing the angles of the lights from near normal incidence to near grazing incidence).
Scanning is preferred if none of the above are true, and/or if absolute geometric accuracy is important (eg, architectural drawings), and especially if one has a lot of similar objects to digitize. The latter is an important consideration because of the relatively long setup time and readjustments almost always necessary between each object to be rephotographed.
In the case of your print, given the above guidelines, scanning is clearly the way to go .
Also, to be honest, the scan that you had done is just horrible. Almost any scan that you would have done these days would likely be better than what you posted.
HTH,
Tom M