I own two F5's, and love them to death. I also purchased the Nikon software and cable and most of the functions on the cameras are customized. The first assignment I shot with them got them both soaking wet and splattered with mud. We were shooting Land Rovers (of course).
The ultimate back-up camera. The Nikonos II. I've owned this camera for almost 6 years and it always travels as my third or fourth back-up. With a 35mm lens, submersible to 300 feet, fully mechanical everything, no meter and a pain in the a** to load, this is one camera you really don't want to have to use. But, when you need it, it's there.
When I upgraded to my F5's, I couldn't part with my first F4. It's been around the world twice with me, and once before I got it. I now have it dedicated to being a Polaroid proofing camera, but carry the regular film back just in case. It's my number 3 back-up camera, and still works great. I put Leica on the pentaprism as a joke.
The 20-35 is my favorite lens. It replaced my previous favorite lens, the straight 20. It is my money making lens, and if I had only one lens in my bag this would be it.
Check out this funky thing. It's the silent wave version of the 80-200, and if you're wondering if it's any better than previous versions, it certainly is. I've shot them all, and waited for this one. Believe me, the two different control rings aren't a problem. The focusing is smooth, quiet and lightning fast. This is my second most favorite lens. Not too heavy, and suprisingly easy to hold for it's size. Before I bought it, the 300 2.8 was my second place. This one beats it by a hair.
I own two SB-28's, one with a Quantum Turbo Z battery, and the other with a Quantum Battery I+. I also have a slew of cords, wireless remotes, slaves, etc. These babies are dead on accurate, and with the 3-D Matrix metering, are almost foolproof. I also use the Sto-Fen Omni-bounce to soften the light.
This is my 105 1.8 lens. I have owned two over the past 12 years. The first I bought in high school, and it traveled with me for many years before being stolen in South Korea along with my trusty FM2. I never replaced the camera, but couldn't live without the lens, so I bought another. It has photographed many a low-light high school baksetball game, all the way up to several seasons shooting the Utah Jazz. I don't use it much anymore, but still can't bear to part with it.
I had a buddy, Ron Franklin, that shot for the Washington Times in D.C. He used this lens ALL the time and I hated him for it. I used to make fun of his 35-70. I never considered it really useful for the 'true' professional. It took me 6 years, but now I'm eating my words. I bought this lens about 3 months ago and wish I'd have gotten it a long time ago. Never underestimate the power of a mid-range zoom.
I always carry two full spare battery packs for the F5's. I use the Ni-Cad batteries in the cameras, but have the double-A batteries on stand-by just in case. They're also handy to have for the SB-28's if I want to run them without the Quantum packs.
Admittedly not the most practical lens to purchase, but it seems like I'm always needing a serious macro more than I think. I had the 55mm macro, and sold it and got the 60mm when I went to the F5's. I figured I might as well have autofocus when dealing with copy work and small subjects. Although about twice as much as the 55mm, it was worth the upgrade.
I keep all my speedlight TTL cords, cable releases, and wireless slaves in this case along with the strobes. I almost never use the strobe on the camera unless I absolutely have to, so I carry the SC-17 5-foot TTL extension cord, the SC-19 10-foot TTL extension cord, the wireless slave flash controller SU-4 for when I want to use multiple TTL flashes, the ML-3 for when I want to fire the camera remotely (say, for instance clamped to another Land Rover I'm not riding in), and the lens hoods for the 20-35 and the 35-70. The MC-30 cable relase, and a regular threaded release for the F4 go in here too. A Bogen tripod plate, rear lens caps, and a few other goodies round out this case that seems to have no bottom (oh my aching back!).
The 300 2.8 is indeed more versatile than one would think. For a long time this was my second favorite lens, and now, by a hair, it is my third favorite. Believe it or not this is hand holdable down to about 1/60th of a second with practice. Sharp, fast, unbeatable. If you can afford one (or even if you can't), get one.
After 12 years of dragging various Gitzo tripods around, I can safely say I'd own no other (except my Reis) I've always put Bogen heads on my Gitzo tripods, so it made perfect sense that Bogen would ultimately buy the French company. This particular tripod has a #3039 head on it which has the fluid pan/tilt which I like. With a geared center column, this Gitzo reaches nearly 8 feet in height, but is only about 36 inches long when collapsed. It's heavy though, and I wouldn't backpack it for the world. Get the carbon-fiber one for that.
This is my 35mm Kit.

I have 4 Pelican 1600 cases that I carry my cameras in. All of the cameras in this case are Nikon. All lenses are Nikkor. All strobes are Nikon. I've had Nikons since High School, and I'm pretty much hooked. This case is my heaviest, and most used. I shoot 35mm about 80 percent of the time, so I rely on this case a lot. I upgraded and bought all new Nikons from Pro Photo Supply in January, keeping only one body (an F4 for a Polaroid back). I'd never let anyone go through my camera case, so to satisfy anyone's curiosity you can tear into it here without me seeing!
All of the photos in these two camera sections were photographed with the
Nikon CoolPix 950.

Directions:

You can see a detailed photograph and read some text about each piece of gear.
Place your pointer on the camera or lens you would like to learn more about.
Don't click, you'll get an error 400 message and have to come back!