I own/run/sweepup at a boutique fine art lab in NYC and have done so for almost 25years. While the business has changed a lot in that time, we still do analogue prints when that is the best working method. Mostly though the prints are done digitally as both silver halide (ra-4) and pigment prints. Analogue prints are beautiful but many people have gotten used to the control possible with the digital front end and prefer a finely crafted digital print done either on a chromira or an inkjet printer. The controls on a color enlarger are linear and the non linear aspects of color correction done digitally are sometimes needed to make the best possible print. I can go in and make color correction masks for an analogue print but the costs start to go up very quickly and will surpass the cost of a pmt drum scan and digitally exposed print. I still believe that the best print is made from a film original. I can even take a straight digital file and turn it into a neg to print analogue but this is usually saved for a case where retouching a damaged negative is needed or an original is lost and all that exists is a print to work from.
About 30% of the print work is RA4, 30% is Pigment and then the last 30% is split between gelatin, platinum, gum bichromate, salt, albumen and polyplate gravure (leaning towards the plat and silver) There are clients that for conceptual reasons still insist on a color coupler print and will for a some time to come, either because they prefer it aesthically or they have images with outstanding numbers in their print editions. Luckily we still have enough call for the color coupler print that the chemistry stays alive. If costs is an overriding issue the coupler print costs a bit less than a pigment print due to material costs and the extremely delicate nature of pigment prints. Getting and keeping the surface perfect on oversize pigment print can be challenging and can eat up paper and ink in pursuit of it......anyway, I'm rambling.