Shadows and silhouettes often (but not always) offer high-contrast images with stark juxtapositions of light and dark, without much gray or mid-tones.  Sort of images without compromises.  This juxtaposition can be interesting, and probably not just because of our social times.  It can be strongly graphic, in the way large black letters contrast with white backgrounds; "even" common fonts look great blown up.

Part of my interest may be a yearning for darkroom days long ago when photographers worked with Kodalith. I still make some high-contrast processing choices in attempts at emulating Kodalith (but haven't yet found the right mix to replicate the grain-clumping I liked so much).

At any rate, here we are again with an isolated element of the Eiffel Tower.  It less obviously identifies the Tower, but I like it because it embodies strength, among other things (perhaps even an "X" on a ballot).  The diagonals fortify the four corners and sides of the box created by cropping, preventing collapse.  And perhaps preventing expansion and dilution.  It is a reassuringly stout element.  I didn't take it and crop it with political or social messages in mind.  But the nice thing about explaining your own photographs is the ability to see things you didn't see in the field. 

The shadows cast by cypress trees on a long driveway had a nice regularity, and I photographed them several times during this last visit ton Tuscany.  The shadows mimic a barrier, or perhaps piano keys.

Shadows on walls can set off non-shadow elements, like this silhouetted lamp, whose own shadow connects to the foliage shadows.

This time the shadow of a table joins the shadow of a chair.

The stark elements of a Croatian ferry terminal contrast with the light-gray sky.   But the most interesting feature (to me) is the velvety, rich, mid-gray panel on vertical column.  It suggests that some (tonal) compromise can be achieved even in high-contrast environments.