1. I am NOT a professional photographer. My current involvment, beyond my own hobby shooting is only as an adjunct to my graphic design business.
2. When I did shoot film, I maintained a darkroom and did most of my own processing. While I shot a LOT of film, and managed to get, perhaps a half dozen images published at one time or another, I never considered myself a pro. More of a talented amateur.
Having made those disclaimers, I offer you this opinion. From a strictly practical standpoint, I MUCH prefer digital. I don't feel that immediate feedback and gratification cheapens the process in any way. To even read that reminds me of those shutterbugs who get off of the tour bus, snap a dozen shots and get back in to eat their box lunches, waiting to be taken to the next photo op. They get the pictures, but never get the benefit of BEING at the location. They's rather live the experience through their photo albums than to experience their own lives.
Yes, I got a lot of satisfaction from the hands on work done in the darkroom, but there is NOTHING wrong with viewing the image at the moment to make sure I got the shot I needed. I can recall plenty of times when I flicked the switch on my enlarger and see that my subject moved, had her eyes closed, or something came between me and my subject. And, several hours or days AFTER the event, there is no option of going back to reshoot. (Mario Andretti is NOT going back to Laguna Seca to race past my lens, just because I didn't get the shot.)
I did get quite good at framing and composition and shooting from the hip, and these skill still serve me now. And I got a fairly decent skill set of photographic effects skills in the darkroom, which helped me create some darn good art and to repair some marginal exposures. At this point in my career and life, I can't say that I am proud to be able to depend on the digital tools, like Photoshop, to fall back on, but I am glad my system is there and ready to do my bidding. And, I'm glad that I can do in minutes what used to take me hours of sweaty darkroom work.
And, the quality of my work? I don't care how I got it there. My clients wants the end results and, frankly, so do I. When National Geographic calls me on the phone and tells me, "Vince, we LOVE your work but we won't publish it until you go back to film." THEN I'll spring for a decent medium format film SLR. Until then, I'm fine with my digital equipment.