VMLP 22: MC Rokkor-X PG 58mm 1.2—My Precious

Just to be clear, I never imagined owning an MC Rokkor-X 58mm f1.2 lens. I always saw it as too exotic, too far beyond my simple needs. Occasionally, I take it out of its storage case, stare at it, and then gently put it back. A bold streak hit me recently, and I actually took it out for a stroll. Why the trepidation? Well, this lens is, by far, the most expensive Minolta item I own and it’s too costly to replace.

One Sunday morning, it popped up on eBay in a lot simply marked “XE-7 with Lenses.” There was no mention of any specific lens, but on seeing the initial image of the lot, I noticed that many lenses had shapes unlike any of those I owned. Looking at the item description provided no additional information concerning the lenses. I wasn’t interested in the XE-7 (I already owned one), but I was curious about what those lenses might be.

The set wasn’t photographed well, so most of the lens faces had not been captured. After going through about four images, I saw that one of them was an 85mm 1.7. That caught my attention!!! The only other lens I could make out with certainty was an MC Rokkor-X 50mm PG 1.4.

The starting auction bid was low, considering there was a supposedly working XE-7, a 50mm PG, and an 85mm 1.7 in the set. So, I wrote to the seller and asked why the starting bid was so low and what were the remaining lenses. He replied with a complete lens list, and I was shocked—a 58mm 1.2 was in the same lot as an 85mm 1.7! Unsolicited, he offered to sell me the set at a relatively low price, and I accepted. And that is how I got my Precious.

Background
Minolta produced three generations of the 58mm 1.2 and another two of the 50mm 1.2. The subject of this post is the last 58mm version introduced in 1973, the MC-X version. With the introduction of cameras that offered a Program Mode, such as the X-700, the 50mm 1.2 version was released in 1981. I could not locate pricing data for earlier modes. However, a 1981 Popular Photography magazine lists the cost of a 50mm 1.2 as 148.00.

Universally, this lens is praised for its bokeh and color rendition and has picked up the nickname “Hawkeye.” After using it, I can say the praise is merited.

Sharpness Tests
When conducting sharpness tests, I spent a lot of time checking sharpness at f1.2— I like what I found. B&W images are FP4+; color images are expired Fuji 1000. Wanting to test wide-open sharpness, I shot multiple image sets. Drawing book images are at 1.2, 2.0, and 5.6. The 7sII images are 1.2 and 5.6 (focus on “O” in Minolta). The rhino images are also 1.2 and 5.6 (focus is on horns)

f1.2
f2.0
f5.6
f1.2
f5.6
f1.2
f5.6

Technical Specs and Shooting Experience
The minimum focus distance (MFD) is 0.6 meters or about two feet. It has a 55mm filter size and wide focusing ring, making handling it a breeze. This is not a lightweight lens. It is sturdy and well-built, with metal construction weighing in at 16.8 ounces (478 gms). (For more detailed specs, see Minolta SR Lens Index).

I used this lens with the SR-T 101, SR-T 102, and XG-M. The first thing one notices is the size of the lens; it really does look like a giant eye. After mounting it on a camera, the weight is well-distributed, so it doesn’t feel bulky or unbalanced. Focusing was quick with normal subjects, but using the lens at f1.2 took extra time because the DoF is so shallow. A major surprise came from the effect of using a lens with a 1.2 aperture. I was able to shoot violets in deep shade using 100 ISO film at f1.2 using a shutter speed of 125—not something I expected! Aside from the SR-T 101 lacking a split-image focus aid, I had no trouble with focusing issues. I’ve read that the lens was somewhat soft wide open, and this is true to some extent; however, in my tests, the wide-open results were quite acceptable.

Buying
Unless luck runs in your favor, be prepared to pay 300.00 to 500.00 for a clean copy of the lens. The MC-X models seem to command the highest prices. The only real advice I can offer is look for estate sales, and don’t be afraid to buy a lens with issues such as stuck apertures. Many repair shops will CLA lenses at very reasonable prices.

Images
Of the color images, two were shot at f1.2—violets (focus on the left front blossom) and pincushion flowers (focus on the closest flower). All remaining images were shot at a variety of focal lengths.

Some of the images stunned me with how close they were to what I imagined when capturing them. The oranges on black & white cloth are rendered in exquisite detail, the Diesel sign is sharp even after being cropped, the valentine vase’s color is spot-on, and the restaurant glass mosaic is rendered perfectly.

All images were home-developed using CineStill chemistries (Df 96 and 2-Step Color Kit) and scanned with the Epson v600.

Mosaic
Sign
Violets, 1.2
Pincushion, f1.2
Orange and Black
With Love

Impressions
Ok, I get it now—this is an extraordinary lens! It is deserving of the praise it receives. It is not an item the causal shooter might want because of cost. However, if the goal is to have the very best, the 58mm 1.2 (MC-X) is worth having.

Technical aspects aside, having this lens makes one want to excel at capturing images, at making art. I used expired Fuji 100, which often produces somewhat flat images. The color seen in these images is some of the best I have ever had with this film. Even pictures taken in shade are clear with good color. I cannot wait until my garden blooms so I can try it with Ektar and Portra.

What more can I say? I wish I had the funds to buy a second copy, but I don’t foresee that happening. But this one I have in front of me that I keep in a special bin, inside a bag, inside a lens case—I will not easily part company with.  My Precious.

Suggested Technical Reviews
Phillip Reeve
Lens QA Works

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