Ask anyone who shoots Sony about the menu and you’ll get a story. Usually it’s about a setting they knew existed, needed right then, and couldn’t find. Sony’s Alpha bodies have some of the best sensors and autofocus on the market, and for a decade they also had the menu system photographers complained about most. It got so familiar that Sony’s own ambassadors joked about it during launch presentations. How It Got This Bad Sony’s interchangeable-lens business came from two directions: the Konica Minolta camera division it bought in 2006, and its own consumer electronics side, which launched the NEX mirrorless line in 2010.

Three people on a terrace above a working harbour, and none of them is looking at any of the others. A friend in black reaches over to fix the bride’s hair, phone and clutch still in her other hand. The bride looks down at her own dress, bouquet held out to the side like something she’s been asked to hold rather than something she chose. The groom has turned his back on both of them to fasten his jacket.

A telephoto street shot along a seafront promenade at golden hour. Compressed perspective, shallow depth of field. Five figures in the sharp foreground plane, a soft crowd behind them, and a background of palm trunks, traffic lights and lit shopfronts dissolved into bokeh. Left to Right in the Foreground A woman with long light-brown wind-blown hair, head down, wearing a sheer brown mesh top over a bralette, wide-leg light-wash jeans that pool over brown slide sandals, and a cream canvas tote on her shoulder.

Most of the arguments against fisheye lenses come from people shooting outdoors, where a bent horizon is an obvious mistake. Take one inside a domed church and the objection quietly disappears. There’s almost nothing in the room that’s supposed to be straight. This is the Rotunda of the Church of the Holy Sepulchre in Jerusalem, the circular space built over the Aedicule, the marble kiosk that stands at the centre of the frame.

Two runners, a dog on a leash, a row of bike hoops, a road full of headlights. Shot handheld from behind and slightly above, on a public plaza, with nothing on the subjects except the street lamps. The thing holding it together is the water on the ground. Before the technique, here’s the frame in full, written out the way I’d write it for a caption file or an archive record.