We Review Thypoch Latest Compact M Mount Lens: The Ksana 35mm F/2 Asph

Following my recent speculation about M-mount lenses being the next big thing, the M-mount ecosystem has seen some truly exciting developments lately. Even in such a niche and crowded market, we are still getting frequent releases from companies like Thypoch. And after all the good releases, they still manage to surprise us every now and then to give us a reason to pick their lens.

Introducing the Ksana 35mm f/2, the second lens from the Ksana series created for Thypoch's Epoch Coating Project. This round features the Epoch Coating 84, which promises to usher forward the iconic coating aesthetic from the 1980s while maintaining the lightweight, portable design language and optical philosophy.

Build Quality and Handling

As many already know, the Ksana series is designed from the ground up with the "everyday carry" ethos in mind. And the Ksana 35mm f/2 ASPH stays true to this philosophy as a native M-mount lens, delivering a very compact, lightweight, and capable prime lens that is highly practical to bring around when mounted on Leica M rangefinders. As an M-mount manual focus lens, it can also be easily adapted to any full frame or APS-C mirrorless system, making it a highly versatile and cost-effective choice regardless of the system you shoot.

One of the things that immediately caught my eye, picking up the lens for the first time, was just how remarkably small the front element is. Weighing 198.6 grams and measuring just 27 mm in length from flange distance, the Ksana 35mm f/2 with a 42 mm diameter is almost identical in size and proportion to the legendary vintage Leica Summicron and even the Voigtlander counterpart. Interestingly, from what I know, it is probably the lightest in its class. For Leica M rangefinder users, it is small enough (without the hood) to not cause massive viewfinder obstruction and does not make the setup front-heavy. Though don't be fooled by the size, as this lens does feel incredibly dense in the hand. The heft is most probably coming from the solid brass construction choice that honors Leica's core design aesthetics.

As for finishing, there are two options available—black and silver. The black version features a smooth, refined paint designed to gradually wear and reveal the brass base over time, giving it that classic, personalized patina look. The silver option, on the other hand, uses a chrome-plated brass that beautifully matches the premium finish of Leica's brass-bodied cameras, offering a finer texture than standard anodized aluminum. While both finishes are as fine as you can expect from Thypoch, the silver finish, in my experience, does attract fingerprints—something to keep in mind if you have sweaty hands. Speaking of finishing, Thypoch has also changed the typography engraved on the lens barrel. While subtle, I do prefer this updated font compared to the Ksana 21mm. The font size also appears to be a little small and might be hard to read for some, but I am not bothered by it.

Build quality is very solid with no weird play in either the aperture or focusing rings. The manual focus ring is smooth to operate with the right amount of damping and features the classic crescent focusing tab with a short 90-degree focus throw optimized for quick, on-the-go street photography. While the optimization does sound great, in reality the focus ring is quite thin and is hidden underneath the non-moving barrel surface; therefore, the only way to move the focus ring is through the focusing tab, making vertical and one-handed shooting not as convenient as it can be. 

That said, this is a small but necessary design compromise to accommodate a larger (2x compared to the Ksana 21mm) non-moving barrel surface for easier gripping when mounting and unmounting the lens. There is also a tactile detent to notify rangefinder users when the lens decouples from the rangefinder camera at 0.7 meters, signaling that they should rely on live view or an EVF before focusing all the way down to 0.5 meters. The lens barrel does extend slightly when pushed to its minimum focusing distance.

One of my favorite design touches is the uninterrupted knurling around the aperture ring, which allows for effortless one-finger adjustments. The aperture ring uses a one-stop indicator with solid, equidistant, clickable half-stop increments. However, the aperture ring click detents are not as firm as I would prefer, and it rotates a bit too easily, causing it to be prone to accidental adjustments. From my short initial testing period, I have already caught myself shooting at a narrower aperture a few times and have now subconsciously checked it every now and then. The aperture index is nicely painted in red and recessed thinly into the barrel but does become quite hard to see with a lens hood attached.

The Ksana 35mm f/2's front element has quite a deep recess, which is excellent for extra protection, and has a common 39mm filter thread that has wide accessory availability. As for a lens hood, Thypoch does have a version with a native lens hood included for just an additional $50. Alternatively, you can also use the round or vented Leica 12504 lens hood. Note that you can no longer use the native friction-held metal lens cap if you use a lens hood.

Features

Peeking at the spec sheet gives you an indication that the Ksana 35mm f/2 embodies the essence of modern optics and is set up to be a strong performer. It is a full manual focus lens offering a 54° horizontal field of view on a full frame camera. It also features an optical formula that consists of 8 elements in 5 groups, which includes 1 extra-low dispersion (ED) element, 2 high-refractive index (HRI) elements, and 1 crucial aspherical (ASPH) element. These three specialized glass types work in harmony to aggressively correct optical defects, neutralizing both spherical and chromatic aberrations at the same time to deliver sharp edge-to-edge clarity and accurate color reproduction.

These modern optical formulas, when used with the wide-open f/2 aperture, can produce images that deliver sharp resolution and make subjects pop with distinct, smooth, and creamy bokeh. The lens features a 10 circular-blade aperture to ensure that the bokeh remains beautifully round and natural when you stop down slightly. Since it has an even number of blades, it should produce a nice, crisp, and highly defined 10-point sunstar. The Ksana 35mm f/2 features a generous Φ43.2mm maximum image circle, which technically should fully cover full frame sensors without any hard-edge vignetting or cropping. The aperture range sweeps from f/2 all the way down to f/16, catering to a wide variety of applications.

Now, the real headliner of this lens is the proprietary "Epoch Coating 84" multi-layer coating. When you look closely at the front glass, the coatings give off a distinct green and amber tint. This is because it is designed as a recreation of classic 1984 Olympus Zuiko craftsmanship, which significantly enhances light transmittance and anti-glare performance. Other than that, this coating also deliberately delivers a distinctive golden and purple flare effect—bridging vintage artistry and modern creativity.

Real-World User Experience

As someone who thinks the 35mm focal length is neither here nor there, this lens has been a pleasant one to use. It has proven itself useful in documenting social settings and creating casual lifestyle work since it is slightly wider than 50mm, allowing more context in the frame while still maintaining a natural field of view. On top of that, I could also easily adapt the Ksana 35mm f/2 to my Leica CL to get a 50mm-ish equivalent focal length with the crop factor applied while keeping the size compact enough. 

Personally, the f/2 maximum aperture hits the perfect sweet spot, balancing size, weight, image quality, low-light capability, and price. Since modern digital sensors handle higher ISOs with ease, having a larger f/1.4 isn't really necessary, not to mention the price will be significantly higher. 

In terms of adaptability, it does seem like Thypoch did optimize the optical formula of the Ksana 35mm f/2 to cater to sensors with thicker cover glass. Unlike my previous experience with the Ksana 21mm, which showed some signs of color shift, adapting the 35mm to my Canon R5 showed no color shifting and maintained excellent peripheral performance, rivaling its native use on a Leica M body, making it an incredibly versatile, cross-platform choice. When paired with adapters like the Techart LM-EA9 for Sony E-mount or the TZM-02 adapter for Nikon Z-mount, you can even get autofocus in a remarkably small package.

For the curious ones, it does appear to cover just enough on Fujifilm GFX medium format with some vignetting and no dark edges. After all, it has an official image circle of only 43.2mm, which is the exact diagonal measurement of a standard 35mm full frame sensor. When shot wide open on standard full frame bodies, vignetting is present, as is expected from a lens this small. Stopping down to f/4 does help to reduce it drastically. 

While the vignetting does not bother me as much, since it does naturally direct the viewer's eye to the middle of the frame, you should instead pay attention to how the optical vignetting alters the shape of the bokeh toward the edges. Because light rays entering the lens at steep angles are physically blocked by the inner barrel, the circular light transmission is cut off, stretching the edge bokeh into a "cat's eye" shape. The Ksana 35mm f/2 does show some optical vignetting, but it is kept at a minimal level, rendering a rather pleasing bokeh in most scenarios except when dealing with intricate, high-texture backgrounds.

The straight-out-of-the-camera result is very usable, as contrast is quite high across the frame. Barrel distortion is also virtually nonexistent, which is a rare feat for an ultra-compact 35mm lens. Despite the vintage-inspired marketing, the overall rendering does lean heavily toward a modern aesthetic rather than a "vintage character" lens. The image rendering is highly predictable in a good way, offering smooth transitions with just enough character to prevent the final image from slipping into anything sterile or overly clinical. This might not necessarily be a bad thing, as I do prefer this corrected look, since it allows me to use the lens for a much wider range of commercial and documentary applications, but it is something to keep in mind if you are explicitly hunting for wild optical imperfections. 

That said, I was also hoping to see much more obvious, dramatic behavior from the Epoch Coating 84 on the Ksana 35mm f/2. Again, in practice, flare control is quite excellent in most cases, like what we could get from a well-coated modern optic. Unless we are hit by rather bright and dominant light sources, it is quite difficult to get the vintage-inspired flare. Ghosting does remain minimal too, even when shot wide open; stopping down will only improve things further. Both chromatic aberrations and longitudinal chromatic aberration are also handled impressively well. They are noticeable on high-contrast edges but are kept to an absolute minimum and only appear in extreme cases.

Sharpness is also great, but only if you hit critical focus. Corners, however, are noticeably weaker in comparison, and you can definitely benefit from stopping down. You can expect to get peak middle-frame performance by f/4 and great results across the entire frame by f/8, and anything beyond that, diffraction starts to creep in, causing us to lose the benefit of stopping down. Close-up performance at 0.5 m is also decent wide open even without any floating element, but again, stopping down to f/4 does improve things drastically. The lens also shows minimal focus shift when stopping down, and this makes the Ksana 35mm f/2 a rather ideal choice for rangefinder users. Not to mention, having the ability to focus down to 0.5 m is certainly a treat, as most rangefinder lenses stop at 0.7 m. When racking across the focus range, the Ksana 35mm f/2 also shows minimal focus breathing. 

Lastly, for those who care about well-defined sunstars, the Ksana 35mm f/2 produces rather clean 10-pointed sunstars with good symmetry. While not prominent, the sunstars do appear as early as f/2.8, but from f/4 through f/16 the effect becomes progressively more defined, and by mid-apertures the sunstars are clearly visible and aesthetically pleasing. This is because Thypoch chose to use 10 straight aperture blades here rather than curved ones. Straight blades are unique because they create rigid geometric polygons the moment you stop down. And because light diffracts more sharply over these flat physical edges, straight blades produce incredibly crisp, well-defined rays much earlier in the aperture range. 

Summary

What I Liked

• Ultra-compact footprint: The size and weight are great for what you get, making it an effortless daily companion.
• Premium and solid construction: The solid brass build and vintage aesthetics feel incredibly high-quality in the hand.
• Exceptional image quality: Great sharpness when stopped down, with a very clean, modern rendering that punches above its weight class.
• Adaptability: It plays surprisingly well with the thicker sensor cover glass found on adapted mirrorless bodies.
• Low distortion: Excellent distortion control right out of the gate.
• Flare management: Great flare control and overall contrast retention.
• Crisp sunstars: The 10-blade aperture produces beautiful, highly defined sunstars when stopped down.

What Could Be Improved

• Loose aperture ring: The click stops could be firmer, reducing accidental aperture changes.
• Focus ring handling: You can only rotate the focus ring via the crescent tab. While great for quick horizontal shooting, a fully knurled ring would help for vertical shooting and one-handed operation.
• Missing character: There really isn't as much "character" as you might expect from this lens. That isn't a bad thing, but be aware of it if you are buying this lens for its character.
• Lack of 6-bit coding: Having 6-bit coding on the lens mount allows the camera to tell exactly which lens is attached through the recorded EXIF data without manual entry.

Final Thoughts

While I never really resonated with the classic 35mm focal length, it has always been a staple for a wide range of photographic scenarios—from travel and documentary work to environmental portraiture and sweeping landscapes. I do find myself enjoying the Thypoch Ksana 35mm f/2 ASPH a little bit more, especially seeing how well the optical formula is now optimized for thicker cover glass, making it a fantastic option for cross-platform usage across all my camera systems.

Looking at the broader picture, I am starting to think the Ksana line is probably Thypoch's "fun project"—a creative series where they experiment with different design languages, bold coatings, and unique optical formulas just to see what sticks, while expertly balancing the inevitable compromises that come with such compact engineering. As a result, they produce a lens that has such a distinct personality without sacrificing technical reliability.

If you are looking to add this to your kit, the Thypoch Ksana 35mm f/2 is available to order now for $599, with your choice of either the black or silver paint. If you want the dedicated lens hood, that version will run you an extra $50.