But back to the original post ... different kinds of papers, developers, and printing technique yield different results under skilled hands. A sense of depth can be achieved composition-wise, as any student of art history or practice knows, but in terms of a flat two-dimensional surface, the feel of depth in the emulsion itself is determined by certain other variables of tonality, post-development toning, silver richness... on and on. Mastering these skills is one of the joys of working with high-quality true darkroom papers, especially with large-format negatives. I have yet to see anything ever done by typical inkjet printing which has an analogous visual feel, though I have seen certain reproductions using very expensive press techniques that simulate it. Inkjet has a different range of potential appeal, obviously off-topic here. What is "best" really depends on the skill of a particular printer relative to his chosen medium, which is just an inert tool kit otherwise.
But yeah, get out and look at classic real prints. It becomes an epiphany for those who are accustomed to accumulating lard in front of a