The virtue and terminus of analog photography is the tangible print, which occupies physical space. It is defiant to the cold storage and virtual nonexistence of digital imagery, which trivializes the entire process. We can adopt the principles of the analog camera to the digital by imposing a restriction on the otherwise limitless capacity of our technology. Before every press of the shutter release we need to ask whether this is an image which should be printed into existence.
Film demanded some intention by design. What was considered a flaw of film during the advent of digital was its limit of 24 or 36 frames per roll. Every single shutter release would bring the photographer one exposure closer to winding the negatives back into their housing to later be processed in a darkroom. There was (is) an economic calculation in photography, particularly as film became more expensive.
Digital promised to eliminate that pressure. And it did. But art which thrived on the scarcity of a product was replaced with an abundance of digital files, which may or may not possess any element of inspiration or intention. Hence, a self-imposed restriction: is this picture worth printing? My CF Express card can fit over 1,500 RAW images at 48 megapixels. And like a bigger house, or a bigger backpack, more space often excuses more junk.
So rather than sell off your digital kit, it may be worth adopting, even temporarily, this habit of slowness, and intent, to preserve the virtue of picture taking: to make images that matter; if not to the world then at least to yourself.