The modification in developments were to keep the contrast within the range of the films and papers he was using. His exposures were generally based on the low values that required texture, and then development modified to either expand or contract the high values to the levels he desired in the final print. Given that the fully usable textural range of most films was ZIII to ZVII, and tests made prior, he could make his shots match his vision.
Of course, today's digital has a decreased range of usable values, and he would have learned how to modify the procedures with either PS or his own software.
PS tools like dodge and burn are from the old darkroom techniques, and curves derives from the H&D characteristic curves. Both are from the old film days, so I think it would have suited him using those tools the most. Whether with his own software or PS, or even GIMP, he knew curves and how to modify them and was quite skilled working them to his needs.
My take is using RAW as the negative, converting to JPEG being the "development," and final work for printing being much like printing from the negative. I think he would have found a similar workflow that matched his style and been quite successful, given his desire to make perfect prints that matched his visualization.