A key consideration when choosing between film and digital photography is results. Most argue that digital can do anything film can and lots more besides. Nicholas Carr's The Glass Cage refutes this claim, not on a technical basis (though that argument can be made) but as a critique of automation generally. It also goes a long way toward integrating the findings of Apples and Oranges with the broader question of automation generally.
Specifically though, digital cameras don't just swap sensors for film: they alter the photographic process. This in turn changes our photographs:
I had a chance meeting...with a freelance photographer....I noticed he had a large-format film camera set up on a bulky tripod...and I asked him why he was still using film. He told me he had eagerly embraced digital photography a few years earlier. He had replaced his film cameras and his darkroom with digital cameras and a computer running the latest image-processing software. But after a few months, he switched back. It wasn't that he was dissatisfied with the operation of the equipment or the resolution or accuracy of the images. It was that the way he went about his work had changed, and not for the better.
The constraints inherent in taking and developing pictures on film--the expense, the toil, the uncertainty--had encouraged him to work slowly when he was on a shoot, with deliberation, thoughtfulness, and a deep physical sense of presence. Before he took a picture, he would compose the shot meticulously in his mind, attending to the scene's light, color, framing, and form. He would wait patiently for the right moment to release the shutter. With a digital camera, he could work faster. He could take a slew of images, one after the other, and then use his computer to sort through them and crop and tweak the most promising ones. The act of composition took place after a photo was taken. The change felt intoxicating at first. But he found himself disappointed with the results. The images left him cold. Film, he realized, imposed a discipline of perception, of seeing, which led to richer, more artful, more moving photographs. Film demanded more of him. And so he went back to the older technology (p.230).