I primarily use Lightroom to process my images. I'll do a lot with exposure, white balance, contrast curves, and what's known as the "basics" panel. I crop most of the time. Occasionally I'll do some perspective correction. I de-noise and sharpen.
This is all pretty standard when you're working in the digital domain.
I don't use presets unless I've created them myself. I very rarely apply selective/area toning. I don't add gradients, vignettes and I'll rarely dehaze. I don't composite. I don't remove anything but dust spots, though the wires are coming out of the SEARS image at some point.
Most of these things can be done with film in a darkroom (dehaze, denoise and sharpen are the possible exceptions). You can do perspective correction by tilting the enlarger head or the easel which holds the paper. You can add colored filters to change contrast, especially if you're printing from a color negative. Ilford Multi-Contrast paper was designed for that purpose and was a boon for me. Dodging and Burning are staples in the darkroom.
Basically, you could do much if not most of the magic that we do now with digital tools; but digital is faster and non-destructive. We can quickly experiment and compare and increase the efficiency of the iteration to our final product. This ease can also paralyze us with the infinite multitude of possibilities.
I never shoot expecting to fix something in post. I make the best image that I can; and then I make 10+ more best images in an effort to recreate how I see and feel about whatever I'm shooting (more on that later). I'll always process, but I do my best to not need to.
Editing tools are tools; the choice of which to use and how to employ them is up to every individual. The fact that I have chosen to do some things but not others is my choice. Others make different choices and in all directions.
In film we have Cinéma vérité and the fantastical composited films by Georges Méliès. Both of these styles have artistic merit. There have been atrocious films made in both styles. Compare Star Wars with any film made by Zach Snyder on one side and Leni Riefenstahl (love or hate her personally, but her work was genius) against .. i dunno, I try not to watch bad films.
We have photographers who masterfully craft incredible fantasies and those who stalk the perfect milieu & moment.
Basically, I do what I do, and let everyone else take care of themselves. I may or may not like any photo of any style, and I may unexpectedly adore something of a style I tend to shy away from; that's one of the beauties of both keeping an open mind and not being part of a completely homogenized (yet) society.