You have some choice equipment my man. Not that you're in the market to sell any of it, but to the OP's original question, yours is the kind of equipment that fetches high dollars in the used market among a devoted buyer group. I ran across little vintage camera stores in Tokyo that are fanatical about such gear. I have a M6 myself, with an assortment of Summilux and Summicrons. Not as legendary as the M3 and I have to admit, I don't break it out as much as I should.
Ironically, digital cameras are now reaching that maturity that various models are distinctive in their own way. For example, I am now a big fan of the Fuji X100 system. Fixed 35mm equivalent lens, minimalist camera, intended to be a digital answer to the Leica M tradition. Phenomenal street photographer's camera aimed at a very specific kind of shooter.
Also, @Mike H, digital vs. film is not an either/or proposition in many photography programs. I think the best curriculum puts students through an initial "boot camp" with film, learning fundamentals, but digital plays a big secondary part of the curriculum for the many reasons you point out, and also post processing. I certainly can't argue your comments about the improved conveniences. I remember doing portraiture before polaroid backs were common, and we relied on the modeling lights for pre-visualizing pattern, and hand held light meters for measuring ratios. It seems prehistoric now.
The Ansel Adams zone system might seem nonsensical to someone with a digital SLR that can go into machine gun mode and auto-bracket 5 stops in either direction, and then post process using HDR.
But my argument would be that the photographer trained in the classical Zone system would be capable of seeing a particular photograph in a scene that would be invisible to the machine gun shooter, who would invariably walk right by.
Anyone who gets a chance, look into the nature photography of Florida photographer Clyde Butcher. He shoots exclusively on a large format view camera with a wooden stand, sometimes waist deep in a swamp. All his prints are very large format hand printed chemistry B&W. To stand in front of a Clyde Butcher print is an experience. Mind boggling detail.