Sofia University / Minolta XD, Rokkor MD 24mm f2.8, Kodak Ektar
St Nedelya Church, Nikon FM2n, Nikkor AI-S 105mm f2.5, Kodak Ektar
Vasil Levski Boulevard / Nikon FM2n, Nikkor AI-S 85mm f2, Kodak Ektar
Tram, Iskar Street / Nikon FM2n, Nikkor AI 105mm f2.5, Kodak Ektar
…or to give it its full designation the Minolta MD W.Rokkor-X 24mm 1:2.8.
This is an SR mount lens. The SR mount was introduced with Minolta’s first SLR, the SR-2, in 1958. (Strangely there was an SR-1 but it was released after the SR-2). All manual focus Minolta SLRs used the SR mount but when Minolta switched to autofocus cameras the company developed a new mount. This mount known as the Alpha mount is still in use on Sony’s DSLRs. The MD designation identifies this as a lens specifically designed to work with the Minolta XD camera introduced in 1977.
The XD offered both aperture priority and shutter priority semi automatic exposure modes and required the use of MD lenses to make use of the shutter priority option. While earlier generations of SR lenses could be used on the XD in manual or aperture priority mode they would not work properly in shutter speed mode. The ‘W’ indicates that this is a wide angle lens. With a handful of exceptions all Rokkor lenses between 17mm and 35mm had the W.Rokkor designation. Those over 100mm were known as Tele Rokkors, while zooms, obviously enough, were Zoom Rokkors.
I believe Minolta was the first of the major Japanese companies to give their lenses an additional brand identity when they introduced the first ‘Rokkor’ lens in 1940. Others followed suit and gave us Nikkors, Hexanons, Fujinons and the rest. More recently South Korean lens maker Samyang has sold lenses under its Rokinon brand which sounds like an attempt to associate its lenses with the Rokkor name and identity.
Supposedly the name is derived from the Rokko mountain range near Osaka where the company was founded and maintained its headquarters until the merger with Konica. Minolta’s founder Kazuo Tashima was an admirer of German photographic equipment and the company was initially known as Nichi-Doku Shashinki Shoten (Japan-Germany Camera Company). Given this perhaps Tashima was influenced by the practice of German companies like Zeiss and Leica who gave their lenses additional branding — the Zeiss Planar and Tessar or the Leica Elmar for example. The Rokkor branding finally disappeared around 1980. My 50mm f1.7, for example, is simply a Minolta. Despite this, ‘Rokkor’ is still often used as a generic name for all Minolta lenses. The ‘X’ seems to be largely a marketing exercise. There appears to be no difference between Rokkor and Rokkor-X other than the X.
The MD lenses were modified from time to time during the years of production and based on the information provided in Dennis Lohmann’s very detailed database my copy is a late example of the MD series II from around 1980. Like most Minolta lenses of that era it’s well made, solid and mostly of metal construction. Both the focus ring and the aperture ring are smooth and consistent with appropriate resistance. The lens elements appear clean and the aperture blades operate smoothly.
I wasn’t planning to buy this lens. It’s among the more expensive Minolta lenses ($220–250 in good condition from reputable dealers) and I only occasionally go wider than 35mm. Besides, I already had a 24mm lens for my Nikon FM2n if I needed one. However, while making my near daily check of a couple of online dealers recently this lens appeared on one of them for only $149. I assumed at that price it would be in very poor shape but it was listed as ‘Excellent’ and the reason given for the low price was some damage to the front filter ring which you can see in the photograph at the top. Since I don’t use filters a damaged filter ring makes no odds to me so I ended up with a bargain.
The pictures were taken around Washington DC with the XD and 24mm combination on Kodak Ektar. Everything is nice and sharp and the colours look good to me. The only downside is that it is susceptible to flare though I was shooting on a very bright and sunny day. I think I’ll need to pick up a push on lens hood for this one. Overall though, this is a very nice lens and it’s well worth the bargain price.
I recently picked up the Nikon AI-S 105mm f2.5 lens. I attached it to my FM2n and over the last couple of weeks I have been out and about around Sofia shooting with it. I got the developed film back yesterday and scanned the negatives last night. So here are some thoughts on the lens and some sample shots.
First, the lens itself. Having already bought a 24mm, 35mm and 50mm for my Nikon I was looking for something a little longer for occasional use. The obvious option was one of the various AI or AI-S 85mm lenses but for some reason these do tend to be expensive even by Nikon standards. I was aware of the 105mm/f2.5 having read many good things about it but considered the focal length to be a little more that I wanted.
However, when one showed up for just under $200 in very good condition I decided to try it. The AI-S version of this lens was introduced in 1981 and continued in production until 2005. From the serial number mine appears to be a very early copy. As far as I can ascertain the optical design of this lens goes back much further having been introduced in 1971. That in turn was an optically redesigned version of the original 105mm/f2.5 introduced in 1954. Over time the 1971 version added Nikon’s integrated coating and was adapted mechanically for Nikon’s new automatic indexing system.
The 1971 lens was designed by Yoshiyuki Shimizu who was responsible for many of Nikon’s most famous lenses. The lens has five elements in four groups and is sometimes described as a Gauss type design, though Nikon’s website describes it as a Xenotar type lens. The Xenotar itself is described as a hybrid between the Gauss type and the Topogon type. Confused? Me too. I’ll leave those of you interested in these matters to do your own research. You might start with the Nikon’s own history page for the lens and take it from there.
As with most lenses of this vintage the 105mm/f2.5 is a solid piece of kit made mostly of metal and glass and weighing in at 435g or just under 1lb. The focus ring turns smoothly and evenly and rotates through roughly 150°. Closest focus is 1 metre or just over 3 feet. The aperture ring is similarly smooth and even with well defined clicks at each full stop. This lens has a maximum aperture of f2.5 which is marked on the lens body and while there is no mark for f2.8 there is a click stop for it. Minimum aperture is f22. Everything is engraved as you would expect and the aperture markings have Nikon’s traditional depth of field colour coding. Up front the lens takes 52mm filters, like every other AI and AI-S lens I own. In short, if you have ever owned or used an AI or AI-S lens you will know exactly what to expect.
It’s actually quite a compact lens — 2.5″ wide and just over 3″ long — and feels very well balanced on my FM2. It is shortest at infinity and extends around half an inch as you focus in closer. The AI-S version added a retractable built in lens hood which blends in very well with the overall design. It slides out smoothly and snaps into place with a distinctive click. I rarely use a lens hood but it is nice to have it available without having to carry it as an extra.
I could try and describe the results this lens produces but I believe that this is largely a subjective matter so instead I will add some images and let you decide for yourself. The images were shot on three separate days around Sofia using the lens on my FM2n. All were shot on Kodak Ektar.
First, a couple of shots taken in the colonnades that surround the building housing the Council of Ministers and the Constitutional Court, and a view over the rooftop and domes of the Sofia History Museum, formerly the public bathhouse.
Next a couple of pictures taken at the ‘Zhenski Pazar’ – the Women’s Market – in downtown Sofia. This is the place to buy cheap, fresh produce. Unlike the supermarkets everything here is sold in season so while you may not be able to get everything you want all year round what you can get it is always fresh.
Some sculpture next. The first picture is of a bust of Ronald Reagan that stands in Yuzhen Park. This picture was shot with the lens wide open at f2.5 and gives some idea of the rendering of the out of focus areas. The two following images are of a statue of Patriarch Euthymius of Tarnovo, a 14th century Bulgarian saint. The first was taken at f8 and the second at f2.5 so you can compare the way in which the lens presents the background.
Now a couple of shots from one of my favourite places in Sofia. These are the mineral water fountains that deliver year round hot spring water.
Three more shots to go. These are some of my favourite shots from this roll. The first is one of those shots that appeal for no obvious reason. It could be the combination of strong vertical and horizontal lines. Or perhaps the echo of the pedestrian crossing sign in the actual pedestrian crossing the street. Or maybe the street on the right of the image receding into the distance which adds some depth. Or possibly the light and shadow. Or perhaps some combination of all of these elements.
Next is a shot taken outside the Saint Nedelya Church in central Sofia. I spotted the two men framed by the sun shining through the archway and waited for someone else to enter the frame. Eventually the woman, who had just left the church, did so and I got this shot. I liked the grouping of the people in the image and the way in which they are all framed by the sunlight through the arch.
Finally, this shot was taken near the mineral water springs where there is a tram stop. I pre-focused and waited for a passing tram. When one stopped in front of me I took a couple of shots of which this was the best.
So that is the Nikon Nikkor 105mm f2.5 AI-S lens. If you are a Nikon shooter using manual focus lenses the 105mm/f2.5 is worth your consideration even if it is not a focal length you typically use. The combination of compact size and optical quality is hard to beat.