Sometimes a series of frames from one scene tells a story no single image can. Shoot a moment across five, ten, fifteen frames. Review the sequence together. The arc of an expression, a conversation, a confrontation.

Contact sheets are also a legitimate final product - the grid of frames as document.

Watch for: the temptation to pick one frame and discard the rest before considering whether the sequence itself is the work.

Try this: When something starts unfolding, do not take one frame and move on. Stay on it and shoot the whole arc, the approach, the peak, the aftermath. Edit the strip afterwards, because the in-between frame is often the one that holds the story.

The point: winogrand shot in sequences constantly. So did Moriyama. The edit is where the work happens.