Hey Russ, thanks for the critique/suggestion.
I do agree that street is often better in B&W, which gives them the raw feeling of the street. For this reason, I often SilverEfex' my digital street photos. In fact, these days I'd B&W convert almost all my digital street.
There are several reasons why these shots are in color.
1. These are film, and I consciously chose to shoot color reversals. And, as a kind of self-imposed rule, I try to do minimum post with my film shots; b&w conversion of a color reversal shot would only happen in very extreme situations, such as when, due to bad expired film and/or a mistake in the developing, there's a terrible color shift that is not fixable.
2. The reason why I chose to shoot color reversal a lot on this trip (although I did bring some B&W both 120 and 4x5) is because I wanted to capture the different colors of Morocco; combinations of colors are often country/culture specific, and I find that very intriguing.
3. And while I would agree that the metalsmith shot is, purely from an aesthetic POV, "better" in B&W as how you converted it, I must respectfully disagree that B&W is better for the second shot of the pinhole photographer. I find, if I may say so myself, the salmon-pink walls of this narrow street as captured by Provia 100F contrasted by the blacks lines, white sky, and colorful tin-can pinhole camera (though, admittedly, it's underexposed) to be very pleasing, and still prefer the color version over the B&W conversion :-)
