I don't have facts and figures, but I work in the industry. I think it really depends on where and what you are looking at. For example, many of the processes that photographers used to use for fine art prints are no longer available or hardly available, such as dye transfer or cibachrome/ilfochrome. The big William Eggleston show at David Zwirner in 2017 or so was made on inkjets. They are called "pigment prints", which is code for inkjet. Specifically the archival pigment-based inkjet printers like the Epson and Canon printers. As both a printer and an artist, I am curious about this in general. I talked to a gallerist in Berlin who specializes in fine art photography from well-known photographers and asked her about this topic. She said that the issue of darkroom prints or silver-based printing was not something that concerned most of her clients. She did say, however, that she often found that photographers working in analog made better work. But from the standpoint of printing, whether it was digital or not did not influence the value or collectability of the work. Indeed, in color prints the digital versions tend to be both more archival and more vibrant.

Value in the uniqueness of a given print is a fraught subject, whether in digital or analog. In the old days, it was the darkroom prints themselves that had less value than paintings, as the photos could be mechanically reproduced to look more or less identical. In the recent past (and still today for some), people thought those darkroom prints the unique ones, whereas the digital prints the ones that are infinitely reproducible. Now we are at the stage where having a print at all is the "unique real object", while things like NFT's are trying to establish uniqueness for digital only work that might be distributed in full quality all around the world. In the case of NFT's, you simply pay to say you own it. Ultimately in most cases you are paying the artist or gallery for some representation of the idea of the photograph, and/or for some sort of contractual agreement of artificial scarcity...editions or NFTs, for example. The print itself (and I say this as a printer!), is usually the least valuable part of the venture and often the easiest to replicate. I have reproduced a lot of older work for galleries and artists on inkjet because the originals had faded or were damaged. Also in cases where the artist is much happier with the newer version, because the digital got them closer to what they had originally envisioned. This does not always please people who preferred the old look...