In the case of damage or injury (by fire, storm or through any cause whatsoever) to/by the equipment, it is agreed that the cost of repair, replacement or damages as the case may be (and any charges payable according to this agreement), shall be paid by the Renter to Able on demand. The Renter agrees to accept Able or it’s qualified repairer’s determination as to whether the Equipment is faulty and the cause of the breakdown.ĭAMAGE - The Renter agrees to pay for damage to the equipment. The Renter will not interfere in any way with any mechanical fittings or appliances attached to or forming part of the Equipment or, without the written consent of Able, have any repairs effected thereto by any person other than an employee of Able or such person as Able may nominate.
#CANON EF 15MM F 2.8 FISHEYE PRO#
LATE RETURN - The Renter agrees to return the equipment to Able’s facility on time or pay extra rental charges due on a pro rata basis.īREAKDOWN - The Renter shall notify Able Video and Multimedia of any breakdown of the Equipment and not attempt repairs. PAYMENT - The Renter agrees to pay Able rental charges until the equipment is returned in good working order and any other applicable charges specified in this agreement. On return of Equipment Able staff will inspect all items if the Renter does not wait for inspection Able Video & Multimedia may charge Renter for any damaged found during inspection. The problem is to justify the strong 180º look, not suitable for any subject.INSPECTION - The customer agrees that the equipment supplied by Able and listed below (The Equipment) is received in good working order and suitable for use and that the Renter is familiar with its operation. I would probably still love my copy if the AF still worked, but for now I’m flirting with the new EF 8-15mm f/4L USM that I used sometimes. It’s a very raw design but it gets the job done. Last, there’s a distance window at the top with f/8 and f/16 DoF markings. But there’s a gel holder at the rear, inside the metal mount. Because of the extreme angle of view and convex front element, you can’t mount filters. The whole glass piece moves inside and you can see the front element moving back and forth. I tried to fix in São Paulo but they asked for a 60 days service. I let the box with the lens inside fall, and now I can only hear some clicking when I send power from the camera no more AF. You can get some precision from it, but it’s far from the pleasure of use of newer models. There’s a ton of friction and feels like a sand paper. From the 0.2cm minimum focusing distance to infinity takes about 50º, and the feedback is awful. It requires the correct switch position to disengage the ring from the motor clogs, then to spin freely. Its operation is simple with a single old school MF ring (short and shallow) and the noisy micro motor AF. The EF 15mm f/2.8 could stay on your camera all day without much trouble, if it wasn’t for its strong barrel distortion. But at 6.1cm deep and 7.3 wide, it doesn’t feel much different from a f/1.4 50mm. The large front element was the biggest ever used on a fisheye lens at the the time of introduction, and the built-in lens hood is a classic ultra wide angle design. At the front the metal cap is held by some light friction, so take care not letting it fall it will bend and won’t mount anymore. It’s very solid and feels heavy on the camera, as there’s not much space between the external barrel and the glass inside. Canon didn’t really introduced a similar product to the market, so we’re left in the limbo for f/2.8 fish lenses. And the f/2.8 aperture allows twice the light gathering capabilities of the the new EF 8-15mm f/4L USM, keeping the classic 15mm on most kits even today.
#CANON EF 15MM F 2.8 FISHEYE SERIES#
It’s not a L series so the tight built makes a good impression, from the same design school of the original 50mm f/1.8 and 35mm f/2. At 330g of eight elements in seven groups, the EF 15mm f/2.8 Fisheye is made of metal and is more special than it looks.
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