Digital is less environmentally friendly than B&W
First...Kodak makes a chemical recovery cartridge that is a five gallon bucket with some tube fittings, and the bucket is totally filled with steel wool. I got one from B&H, and plan to get another and hook them up in serial in my darkroom after it is finally constructed (hopefully this fall...).
I think the answer to the original question relates strongly to whether you are doing toning. In my opinion, classic wet darkroom work without toning of the final print clearly has less negative impact on the environment than digital processes. The only way I can see this being incorrect is if the number of images that you shoot is huge and you make relatively few prints. A prolific shooter who does little printing may save resources by using a card that is reusable in place of film. But if that shooter is archiving and storing all the images digitally, then the benefit goes away. And clearly, I'm assuming that the darkroom user is recovering their silver rather than dumping it. The reality is that other than the silver, there are no real hazards in the standard developing chemicals. As has been noted, they make great fertilizer.
On the other hand, toners are often very toxic heavy metals. Disposal of many toners is a serious concern. This is, in part, why I don't tone any of my photographs. The other reason is that I don't particularly value the supposed increase in longevity, as I am more interested in knowing that the image is being enjoyed now than whether there is some off chance that 500 years from now (or 50 for that matter) somebody will wonder what the image looked like before it faded to oblivion. Frankly, that's not why I do art. And I've never had any photos that faded enough to be noticed by me (and I think I'm relatively picky) so far. I do think that it is interesting how much people obsess over the potential archival differences among the various toning and paper options, none of which is invalid mind you, just perhaps a bit more persnickety than necessary. But the people on the digital side are just making inkjet prints with no idea of permanence and they are showing up in museums too. So perhaps the purpose of toning for 'archival' reasons is not so important to people in the museum/gallery end of things anymore. If it is because of some inherent quality in the tones that the artist values, so be it.
And as has already been said...if you count the disposable nature of the hardware and the impact of that, wet darkroom work wins hands down.
My considerably more than 2 cents.