I recall attending a talk on how to simulate classic looks with digital prints. I wish I could remember the guy's name!
Here's what I remember, kinda...
1. Look carefully at the lighting conditions used for original images. Most old processes were constrained by working best in very bright light, and in light of a particular contrast ratio and direction in relation to the subject. Do your shooting in those conditions.
2. Digitize several original images. Look at the curves get a feel for the tonal distribution of overall image. For similar images try to reproduce the same density distribution.
3. Now digitize several small, monotonic sections of an original print, particularly places that characterize the highlight, midrange, and dark ranges of the image. Study the microcontrast. Learn how to create masks to target those specific tonal ranges so you can adjust the microcontrast in your images with targeted curves. Tony Kuiper's luminance masks come to mind here. One of the biggest differences between modern and classic processes is in the overall tonality and microcontrast. Tonal subtlety took a big hit starting in the grainy, grungy 60's, and we are only just starting to recover from those ugly days.
And of course shoot images typical of those shot during the processes heyday, or which at least quote some aspects of the tradition.
And look carefully at the color and toning of originals. Don't forget the surface characteristics. And various processes had recurring defects particularly around the edges, and characteristic small localized defects on the surface. Figure out how to create those.
And most classic prints had rather thick emulsions with a certain amount of relief and sometimes texture that varied with image density. Dunno what to do about that, but thick "sensuous surface" barytas and art papers might be appropriate.
Piece o'cake.