Nope, Seamus, I don't think you are an expoitative street shooter - at least, not from anything I've seen from you on LuLa.
Thankfully, neither do I make any comparison with Parr, whose work I do feel is exploitation in the extreme and, for me at least, will always be tinged with the mockery that I saw in his Technicolor foray into the lives of the British poor. Unlike the stuff from Winogrand or Klein and any number of others who made a b¡g rep from the street, and whose work expressed the dynamic of the experience, Parr seems to me always to have worked from a sense of belonging to a higher social class - he seems as if he's slumming, in other words, not observing. Just my opinion, of course, but my constant reaction to him. I suppose that it will colour anything else he ever does that I get to see.
You didn't have to go to the Canaries to find that stuff, though; half that flight away and you'd find it all, unfortunately, in the Balearics. Cesar Manrique must be weeping in his box.
Rob C