The following are the camera bodies, lenses and accessories I currently use. My comments are confined to my observations from my practical experience. I'll leave the "objective" reviews of equipment to others.

Nikon AF Fisheye-Nikkor 16mm f/2.8D - A small lens with a very exposed front element and a permanent "lens hood" that is really just a protective mechanism. It takes 39mm bayonet filters mounted on the rear of the lens, which rules out polarization, of course. However, that is no loss, as a polarizer wouldn't work well with a lens that has a 180 degree diagonal field of view, anyway. The effective horizontal field works out to about 137 degrees (which is about the same as a 7mm rectilinear lens on film or a 35mm full frame sensor), although it can be easily lit by an SB-800 with diffuser, which supposedly covers 120 degrees horizontally. The fisheye view is sometimes useful in itself, and it can be used, particularly for natural scenes that don't have straight lines in them, almost as a super-wide angle rectilinear lens might be. However, it has recently become even more useful for photos with people in them with the introduction of Fisheye-Hemi, a software product from Image Trends, Inc. Fisheye-Hemi allows correction of the image only in the horizontal field (i.e., vertical lines are now straight and parallel to each other), which makes people look much more natural than if you simply "defished" the image. In other words, no more squashed, cardboard-cutout people on the periphery of the image. Sample image coming soon.

Nikon AF Nikkor 20mm f/2.8D - A small-ish (uses 62mm filters), light lens, useful in confined areas (like on board a ship), it does take some practice to use effectively. Not ideal for posed group shots, because it makes those on the outer edges look squashed. Not as sharp at the edges and corners wide open as when stopped down to f/5.6 or so. A challenge to use for landscapes because it includes so much foreground that balancing near and far subjects requires creativity. Can be hard to use with flash, owing to the difficulty finding compositions that have all subjects at approximately the same distance from the flash. For a sample image, click here (Nikon F5, AF 20mm f/2.8D, 1/125th at f/11, on Fuji Provia 100F).

Nikon AF Nikkor 24mm f/2.8D - A small (uses 52mm filters), light lens that seems brighter through the viewfinder than its f/2.8 aperture would suggest. Useful indoors, especially in confined areas. Easier to use with flash than the 20mm, although care must still be taken to place all subjects at about the same distance to avoid having some lighted more strongly than others. For a sample image, click here (Nikon F100, AF 24mm f/2.8D, 1/100th at f/8 with SB-26 flash for fill, on Fuji Provia 100F).

Nikon AF Nikkor 35mm f/2D - A small (uses 52mm filters), light, fast lens that performs very well wide open. Perspective is very "normal," which makes it a good general purpose lens. Has become one of my top two or three favorites. For a sample image, click here (Nikon F100, AF 35mm f/2D, 1/30th at f/2.5, Fuji NPZ pushed to 1600).

Nikon AF Nikkor 50mm f/1.4D - A small (uses 52mm filters), light, fast lens. Usually needs to be stopped down to f/2.8 for best results, although images at wider apertures are useable, provided focus is accurate. For a sample image, click here (Nikon F5, AF 50mm f/1.4D, 1/250th at f/4, SB-800 flash for fill, on Fuji Provia 100F).

Nikon AF Nikkor 85mm f/1.8D - A chunky (uses 62mm filters), fast lens. Great for portraits, candid or posed. Speed is an asset, but sharper stopped down to f/4 or so. For a sample image, click here (Nikon F100, AF 85mm f/1.8D, 1/30th at f/4, multiple SB-26 flashes (background as a delayed wireless slave in manual, main light on a light stand with diffusion screen, fill light on camera using a Custom Brackets bracket to keep the flash head over the lens), on Fuji Provia 100F).

Nikon AF Nikkor 105mm f/2D DC - A bulky (uses 72mm filters), heavy lens for its focal length, it's worth it in image quality. Images are quite good wide open, and the shallow depth-of-field that results allows for dramatic isolation of the subject. Just the thing for tightly-cropped portraits and candids. Truly designed for speed, to ensure maximum image quality it really should not be stopped down beyond about f/5.6. The DC (Defocus Image Control) takes some experimenting, but works very well in some situations to improve the "look" of out-of-focus areas in front or (usually) behind the plane of focus. For a sample image, click here (Nikon F100, AF 105mm f/2D DC, 1/60th at f/2, SB-26 flash for fill, on Fuji Provia 100F).

Nikon AF-S Nikkor ED 300mm f/4D IF - A superb telephoto, it produces outstanding images, even wide open. Can be hand-held in good light, but better on a tripod. I replaced the Nikon tripod collar with a Kirk collar, and have had no problems with vibration-induced blur at slow shutter speeds on a tripod. Works very well with the TC-14e II teleconverter. Uses standard 77mm filters. For a sample image, click here (Nikon F100, AF AF-S 300mm f/4D, 1/60th at f/4, on Fuji Provia 100F, handheld!).

Nikon AF-S Zoom-Nikkor ED 24-85mm f/3.5-4.5G IF - A very compact zoom, with excellent sharpness, contrast and color saturation. I have been somewhat disappointed by it's distortion, particularly at wider focal lengths. This makes it less suitable for use around buildings or other subjects that have straight lines. Basically, good for outdoor candids, nature and landscapes in good light. Uses a weird 67mm filter size (although it's becoming more common), which requires use of a 67mm-to-77mm step up ring for most filtration. Happily, Nikon now makes a 67mm NC filter, since the Hoya UV filter produced images that had a different color cast than I'm used to from Nikkors. For a sample image, click here (Nikon F5, AF AF-S 24-85mm f/3.5-4.5G, 35mm, 1/30th at f/4, SB-800 flash, on Fuji Provia 100F).

Nikon AF-S VR Zoom-Nikkor 70-200mm f/2.8G ED-IF - Almost certainly the best lens I own, it gives outstanding results at all focal lengths, even wide open. I previously had an AF Zoom-Nikkor 80-200mm f/2.8D (one ring), which was also very good, but had slight vignetting wide open. Not so with the VR lens. The VR (Vibration Reduction) works very well, allowing hand-held shots as slow 1/8th of a second. However, it does not stop subject movement, so it is not a substitute for a faster aperture or film in all cases. Oddly, the VR needs some vibration to work correctly, so it should not be used on a sturdy tripod. The Kirk replacement tripod foot works very well and incorporates an Arca-Swiss plate without increasing size or weight, compared to the original Nikon foot. Uses standard 77mm filters. For a sample image, click here (Nikon F100, AF AF-S VR 70-200mm f/2.8G with TC-14e II, 280mm, 1/200th at f/7.1, SB-26 flash for fill, on Fuji Provia 100F).

Nikon AIS Micro-Nikkor 55mm f/2.8 - Very good as a macro lens, it is also very effective as a general purpose "normal" lens. Seems to be sharper, with better contrast and color saturation than the AF 50mm f/1.4D at equivalent apertures. If low light is not an issue, and there is time to focus manually, I prefer this lens to either 50mm f/1.4. It does focus much slower than the other 50mm lenses, since it's focus range is larger and precision focus is more important than focus speed in a macro lens. Uses 52mm filters. For a sample image, click here (Nikon N90s, Micro-Nikkor 55mm f/2.8, 1/30th at f/4, SB-26 flash, on Fuji Provia 100F).

Nikon AIS Nikkor 28mm f/2.8 - A truly outstanding lens, my favorite general purpose lens if low light isn't an issue. Virtually distortion-free, also very sharp, with high contrast and excellent color saturation. Uses 52mm filters. For a sample image, click here (Nikon N90s, 28mm f/2.8, 1/30th at f/4, SB-26 flash, on Fuji Provia 100F).

Nikon Nikkor 105mm f/2.5 - Prior to matrix metering and autofocus, this was my favorite lens. Doesn't get as much much use now, since it is largely supplanted by the 105mm f/2D DC. Is still a good alternative on the F2, especially when low light is not an issue, as it is lighter and more compact. Also a better choice when bright light necessitates small apertures, as image quality holds up better (down to about f/22) than the DC lens. Uses 52mm filters. For a sample image, click here (Nikon F5, 105mm f/2.5, 1/30th at f/16, SB-800 flash for fill, on Fuji Provia 100F).

Nikon AIS Nikkor 180mm f/2.8 - Since the F2 cannot use the "G" zooms, this is the telephoto of choice with the F2. It is very easy to focus due to its f/2.8 maximum aperture, and seems very well matched to the F2's "P" focusing screen. Although not an IF design, it handles quite nicely on the F2, even if it is a bit heavy and bulky at 800 grams (1.66 pounds). Uses 72mm filters. Considered an all-time Nikon classic, it lives up to that reputation and then some. Already very good wide open, it is bitingly sharp stopped down to f/5.6, with the contrast and color saturation to be expected from ED glass. Surprisingly, it does not focus as close as the 70-200mm or the 300mm, although that is rarely a serious problem. If close focus is necessary, it works extremely well with extension tubes, such as the Nikon PN-11, PK-11a and PK-13, allowing images approaching two thirds life size with a comfortable working distance. For a sample image, click here (Nikon F5, 180mm f2.8, 1/2 at f/5.6, SB-800 flash for fill, on Fuji Provia 100F)..

Nikon Nikkor 50mm f/1.4 lens - Essentially the same performance as the AF 50mm f/1.4D, except built like a tank. Now sees more use as a very high quality loupe. Uses 52mm fliters.

Nikon AF-S Teleconverter TC-14e II - Really great teleconverter that only works with AF-S lenses. Adds 40% to the focal length at a cost of 1 stop of light. However, on both the 70-200mm and 300mm lenses, it does not need to be stopped down to give good results, so it is very usable, especially in good light. Doesn't seem to slow autofocus or cause more hunting, except in low light (below EV5).

Nikon AF-S Teleconverter TC-17e II - Like the TC-14e in almost every way (nearly identical in size, weight and appearance), this teleconverter also only works with AF-S lenses and provides very high optical quality. Adds 70% to the focal length at a cost of 1.5 stops of light. On the 70-200mm that means 120mm to 340mm at f/4.8, and on the 300mm that means 500mm at f/6.7 (that's how the EXIF data reads out, even if the simple math would give slightly different numbers). Quality is very good even wide open, so you don't need extremely bright lighting unless you also need fast shutter speeds coupled with low ISO's. Theoretically, the AF-S 300mm f/4 shouldn't autofocus, since the maximum effective aperture is smaller than f/5.6, but in practice it works very well, with minimum degradation in autofocus speed. Focus accuracy seems very good on both the 70-200mm and 300mm, using both the F5 and F100. I have not tested the combination on any other cameras, but experience with the TC-14e on the N90s and D70 suggests that autofocus might not work as well with an older or consumer-grade AF module.

Nikon Filters, Lens Caps and Hoods - I really love the new Nikon pinch-style caps, so much so that I have retrofitted all my lenses with them. Why do I like them so much? Simply, they can be applied and removed with the hood attached or extended on every lens I own. That allows me to store the lenses with the hood attached, making it that much easier to use the lens hood. In fact, I have hoods for every lens, and use them every time. Most Nikkors are fairly ghost- and flare-resistant, but even the best lenses have improved contrast when properly shielded from non-image-forming light. Plus, it helps keep the front element/filter clean, and provides more damage protection than a "protective" filter. By the way, I'm old school, so I do still use either an L37c or NC filter (the latter is preferred, although inexplicably they are almost always more expensive). I do use Nikon filters, partly because they are very high quality and "match" the lenses, but more because they are much thinner and have metal threads. I remove them when shooting into strong light sources or high contrast (i.e., sunsets or stage shows). I also remove them when using a polarizer (in other words, I don't stack filters). I actually only have 52mm, 62mm and 77mm polarizers, and use 67mm-to-77mm and 72mm-to-77mm step up rings for the other lenses.

Nikon F5 camera body - Although a bit heavier than the F100 (with MB-15), I like the subjective "feel" of this camera better. It is as solidly built as a camera can be, leaving no doubt that it can endure the elements if I can. Many have criticized the system of locks on the power switch, film rewind crank (which protects the back from being accidentally opened), and the rewind switch, but I have found them to be easily manipulated with just a little practice. The color matrix meter works extremely well, and although the improvement over the 10-segment matrix meter in the F100 is slight, it is discernable. I really appreciate the downloaded data, especially the time and date, so I don't have to figure out when I took a particular shot. I use MN-30 NiMH battery packs (which boost continuous frame advance to 8 frames per second, up from 7.4 fps with other power sources), charged by the MH-30 charger, and keep a AA battery tray loaded with AA lithiums.

Nikon F100 camera body - Almost an equal to the F5, it has it's strengths, such as the focus points which light up in red when selected. I especially like the downloaded shooting data, which includes a few fields not found on the F5, such as whether or not flash was used, the exact lens used and the difference between the metered and exposed settings. I use AA lithiums to minimize weight. Combined with the extremely compact SB-23 flash and a small prime lens (like the 35mm f/2D), I can use it like a sophisticated point and shoot camera.

Nikon F2 camera body - My first camera, it still works as well as it did when I got it in 1973. Can use every lens I own, except the two "G" lenses. In fact, I have had the metering coupling prong added to all my autofocus lenses, so using them with the F2 is seamless. I recently tested both the shutter and meter, and both remain within one third of a stop. I am starting to use it more frequently again because it forces me to slow down a bit and think about what I'm doing, rather than rely on the camera's automation (of which the F2 has none). I really like the solid mechanical feel, and 100% viewfinder. The lack of TTL flash is the biggest drawback.

Nikon MB-15 Battery Pack - This F100 accessory makes the camera much more useful, by improving ergonomics (it has a vertical grip, shutter release, command dial and AF On button) and performance (it holds six AA batteries or the MN-15 battery pack, which allow 5 fps continuous shooting). Since I've had an F5, I have increasingly been using the body without the MB-15, as a smaller, lighter alternatve.

Nikon MF-28 Multi-function Back - This F5 accessory replaces the standard film back and allows data imprinting (in frame and between frames), as well as camera control functions such as intervalometer, focus trapping and long time exposures. It also captures the time and date of each image along with the shooting data, which can be downloaded with a computer or MV-1 Data Reader. Unlike most Nikon data backs, this one is somewhat bulkier that the original back, and you lose the window which allows you to see what film you have loaded. On the up side, you get a display of current exposure data and frame number (among other things) on the back, which is especially useful when the camera is mounted high on a tripod. Unfortunately, the databack LCD is not illuminated when the viewfinder and other LCDs are illuminated.

Nikon MF-29 Databack - Not as useful as the MF-28, it allows data imprinting on the F100.

Software and Supporting Cables - I have Photo Secretary for F5 and SoftTALK 2000 camera control software. The latter works with the F5, F100 and N90s, while the former works only with the F5. I don't use either much any more, as the MV-1 is the most convenient way to download shooting data from the F5 and F100. Once downloaded, I retain the shooting data in an Excel spreadsheet that allows me to analyze my shooting habits, and provides a searchable database of all my photos.

Quick Release Plates - All my camera bodies and collared lenses wear Arca-Swiss geometry quick release plates from either Kirk Enterprises or Really Right Stuff (both make extremely high quality products). All the camera bodies except the F2 have L-plates, which allows them to be used in vertical (portrait) format without changing the ball head setup.

Flash Brackets - When possible, I prefer to mount my flashes on a flash bracket that keeps the flash directly over the lens, even when shooting in the portrait orientation. I have two options here: a Custom Brackets QRS-35, or the Really Right Stuff B87-B. The latter is preferred for the cameras that have L-plates, or with lenses that have collars. When extended flash range is needed, I have a Really Right Stuff B90 dual strobe bar that allows two strobes to mounted on the same bracket.

Nikon SB-23 Speedlight - Originally purchased for use with the FA (now used by my sister), this very compact flash is often used for fill with 35mm and longer lenses. It recycles faster than most larger flashes, especially with the NiMH batteries that I usually use.

Nikon SB-26 Speedlight - I own three of these powerful, flexible flashes. One of the best features is the built-in wireless flash capability. The remote flashes are not under TTL control, but can be set to fire simultaneously with, or after, the main flash, and can be used in manual or automatic modes. If TTL control of remotes is necessary, a wired connection is required. Although capable of 3D Multi-Sensor Balanced Fill Flash (3DMBFF), I usually use Standard TTL flash indoors, since 3DMBFF usually underexposes slide film by at least one third to one half a stop. 3DMBFF works very well outdoors for fill, however. In general, l use NiMH batteries, which improve performance. The batteries have to be recharged at least monthly for maximum utility.

Nikon SB-800 Speedlight - This is Nikon's newest flash, and would be at it's best used with a Creative Lighting System-compatible camera, like the F6 or D2X. On my current cameras it has similar functionality to the SB-26, although it has a built-in SU-4 mode, which allows limited wireless TTL multiple flash operation. It also has a 105mm lens setting, which slightly increases Guide Number when used with a telephoto lens, and the capability to cover the field of view of lenses as short as 14mm. This flash is another example of Nikon's commitment to advancing capability without sacrificing backward compatibiity: it works very well, in automatic mode, with my F2.

Nikon Super Coolscan 5000 ED - This scanner is fast, flexible and very fun to use. Much faster than the LS-2000 that I previously used, even though it is higher resolution. The USB interface makes it more stable than the LS-2000, which had a SCSI interface. Although I have traditionally shot transparencies and had them mounted (to preserve the option of projecting them), the scanning workflow is faster and more efficient if the film are left un-cut. Getting scans to the edges of the frame is a bonus when used in that manner.

Kirk BH-3 Ball Head - A very smooth, sturdy but compact ball head that is perfect for use with the relatively short telephotos that I use. Would be even better on a light carbon fiber tripod.

Bogen 3020 Tripod - A sturdy but somewhat heavy tripod. Works quite well with the head and lenses I have, but weight causes it to be left behind some times when I should take and use it.