The photo essay was a form. It had a grammar. A sequence of images, usually between eight and twenty, selected and ordered to carry a narrative or make an argument that no single photograph could sustain alone. It appeared in Life, Look, Paris Match, and later in the serious newspaper supplement magazines that proliferated through the 1980s and 1990s. It required an editor who understood sequencing, a photographer who thought in arcs rather than moments, and a reader who would sit with it for ten or fifteen minutes.