Agreed. PP is often a crutch for those who can't get it right in camera. It's like when the red camera came out and everyone flipped over being able to switch WB in post, reframe in post, change exposure in post, etc. and declared it the only usable cinema camera. Aren't those all the things it's your job to do correctly on set?If you can reframe a high mp shot in post, why not shoot with a security margin? If you can change exposure in post, why risk blown highlights? If you can set the correct wb later on, why not use awb that usually gets it right? Imho that enables you to put more energy into creativity and (if shooting with people) communication?
Why shoot with a proper composition rather than reframing? Why expose properly?
Because you're a skilled photographer and you can. Of course this holds true more for landscapes and architecture than for street portraits (which is such a strange genre) where a little margin of error might help, though I don't see the point of intentionally doing a bad job just because you know you can improve it. If you're afraid of blowing highlights then an underexposed shot might be the best exposure. And shooting raw in high contrast areas makes a lot of sense. Intentionally underexposing and forcing yourself to do NR and tone mapping or whatever, or framing wrong just so you can frame right later makes no sense to me. Just because you can doesn't mean you should.
But the better it is in the first place the better the end result will be. I'm just of the mindset that you should do as much as you can with each step, and more earlier on (either with efficiency or best product possible in mind), rather than falling back on post. Get the right subject, get the right light, get the right composition, enhance it in post--in that order and in order of decreasing priority. My favorite photographers do tons of PP (Adams, Crewdson, etc.), but those whose entire style is PP (Trey Ratcliff, for instance) are usually horrible photographers.