Not all twentieth-century photographers created monochrome works of beauty. Some found common man-made forms to be unique structures that should be admired.
Ansel Adams went from photographing scenic landscapes and, after becoming involved environmental awareness, his eye moved to the city. He considered, as many photographers of that era have, man-made destruction of nature.
Despite this, Adams discovered ways he could manipulate light and shadow to view a displeasing scene in an enlightened way. Though his intent was to depict these compositions as unappealing they turned out to be a compelling record of man-made developments.
After photographers noticed Adams’ images that were not untouched landscapes, other photographers followed, some seeing beauty in the light and shadow of a nontraditional city scene.
I’m one of them. The goal of one of my books was to emulate the twentieth century masters of photography in much of my work.
However, that doesn’t these photographers including me shy away from compelling monochrome landscapes.
Capturing light reflection in black-and-white photography enhances images of both traditional landscapes and nontraditional ones that capture human industrial development.