I personally thought Eggleston's work lost all its charm and "authenticity" once it went inkjet or even big. It was very off-the-cuff and needed something small and intimate. Assembly processes in general are never particularly sharp compared to conventional options, though I guess it's all relative, and a DT print might look sharp compared to a gum print, for example. The power of dye transfer is really in the richness and transparency of the dyes, and not ultimate detail, which never existed to much extent in Eggleston's work anyway. I find the transparency lacking in inkjet, which are obviously opaque inks composed of both dyes (lakes) and pigments. But to each his own. Dye transfer varied wildly in quality, depending on the practitioner. A lot of the clock-in/clock-out commercial examples were pretty disappointing. Eggleston himself is not a printmaker, so it's hard to know what his personal expectations were.