Well of course there's more to it than simply black and white at the cost of everything else, but as Russ pointed out, not a lot you can do about that unless you are creating a picture from scratch. Fashion was a great medium for teaching you about the great truth, which is: a mid-tone in any colour is still a mid-tone, and a mid-green, for example, sinks/disappears if against a mid-anything else when you convert to black/white. That's where filters may come in useful, but I never used them in fashion work because there were always alternative choices for making the outfit stand out against the b/ground.
Now for street, and I like to think of my windows as my personal take on street, whist admitting the obvious, that I am but following a thousand giants here, I don't much give a rat's ass about these things: the thing that matters is the tiny detail within the whole that had attracted my eye. The rest is padding, the support for the main act. Anyway, as you may notice, I mostly darken the extraneous the hell out of the frame whilst still using that area as a balance to the important bit. After all, it's that specific bit that grabbed me, usually, not an entire panorama.
But then, I can also see that landscapers have a different priority, as poor old St Ansel discovered with the colour deep red!
But, even with landscape, I believe (sound like Frankie Laine there!) it's the tighter shot that strikes me as having power to bewitch - if you are into landscape. Just like windows, then.