Well, I spent about six years of my early photo-life working in an industrial darkroom on b/white as well as both types of colour: trannie and print. After that, and until I left the UK twenty-one years later, I did all of my own commercial b/whites but not the colour. Why not colour since I knew how? Commercial suicide unless you had a great throughput. Same reason the commercial colour labs died after digital came along: not enough work to make it viable.
Now, with colour, I'd say my view is that the different films had independent signatures, and you knew where you were with them, short of X-Ray damage; the writing I preferred for most of my work was that of Kodachrome 64 Pro, not the slower, finer stuff that was too dificult to control in my circumstances of work, mostly in sunlight. That also meant no rush for processing; Ektachrome had to do for those rush jobs, unless you lived near a rare Kodachrome processing plant that offered 24 hrs. pro service. Sarah Moon used a very fast film for her personal reputation build. Compared with film, I think digital has some really good colours but also some shockers.
Regarding black/white: I'm not a great fan of digital capture to black/white conversions; I do it a lot, but am never really thrilled. I still prefer the wet production pictures - as long as they were on WSG and not those hellish matt or textured things whose sole purpose was, it seemed to me, to disguise shortcomings in technique. I simply refused to buy into the myth that some surfaces gave 'character'; nope, they gave excuses and were easy to 'spot'. Nothing beat the tonality of well-glazed WSG.
All personal, of course, and Schewe may well have a point about bias. Just as he may have his biases, too, the other way around.
Would I go back today, to the wet? As the original materials seem to have vanished with the dinos, what's the point, quite apart from the Spanish logistics making it impossible? It was bad enough when plastics came in to reduce washing times, and I hated Multigrade with a vengeance.
I'm afraid it (analogue) truly is of the past, out with the baby from that pesky bath.