[Jonathan Mac]

I'd have some very difficult decisions to make...

I'd like to go with something full frame but I like the Pentax (especially the DA Limited) and Fujifilm systems.

Maybe invest in a Fujifilm upgrade and then wait to see if a replacement for the K-1 II comes out.

Ideally:

K1 III plus HD FA Limited trio (31, 43, 77).

X-T3 or X-T4 or wait to see what's coming out later this year, plus 18/1.4, 23/1.4, 33/1.4 and Viltrox 56/1.4.

[IsaacReaves]

This did happen to me, in 2014. It wasn't lost to a fire but to theft from a storage area. I had nearly two complete systems in Minolta and Canon film equipment, with a few pieces of studio gear, and hundreds of rolls of unexposed films, and hundreds more of developed negatives and chromes, a portion of it from paid work. I never recovered and have been mostly a 1 camera 1 lens shooter ever since, and my photography has been much better for it.

I've flirted with commercial work enough to know that efficiency is equally valuable to us amateurs as it is to the pros. The time we have to invest into our hobby is limited, as are those brief fleeting moments when a natural light portrait opportunity shows up unannounced with a family member near a window. Having exactly the right gear on-hand and without-thinking ability to capture the moment is paramount to taking good photographs. When you pick up the camera to shoot, I've learned to flip on the intensity and block out everything else around me. 2-3 minutes of focused shooting is better than 30 minutes of casual pointing and clicking. Instead of thinking about when I'll be free for a shoot, think about it like a 30 minute session with paying clients. What do I need for prep? What's the material and/or concept? Is there equipment that I need to rent to get the job done? Would an assistant make my work faster and stay engaged with the subject? These things are all possible as amateurs but we rarely take advantage of it. The camera is only a small part of getting the shot.

Somewhat painfully, I have learned and continue to have reinforced in me that the biggest obstacle to improving my photography is a shortage of time. My shortcomings as a photographer certainly aren't about equipment, and even less-so a brand of equipment. One thing I've been forced to learn since losing all my gear is to get over the obsession with in-camera perfection, which wastes a lot of time fussing with accessories and worrying that I don't have enough of them or the right lenses. If there's a lens stuck to the camera, it's probably right enough. The old engineering mantra of "don't let perfect be the enemy of good" is equally applicable to in-camera stills. Without a bunch of lenses,. filters, and exotic films around as distractions, I've been forced to learn to use all of the camera. The gear collectors thumb their noses at the cheap end of the catalog, but even the cheapest bodies still feature bracketing, long exposure compositing (Olympus), 3 axis SR, programmable user settings that let me swap between landscape / portrait / action setups, and a range of JPEG settings, which I've learned can really suprise you when used in earnest and not just pointed at still life in the office. Or the dog.

Without new gear I've learned to shoot for contrast and latitude in the exposure to have more control while processing images later in post. You can't always prioritize a perfect exposure no more than you can always obsess over a perfect composition. Remember that your task while shooting is efficiency and using all of the camera. Landscape shooters should be comfortable spotting Zone 5 and using spot metering. Portrait photographers should be carrying a $5 gray card. Learn to get the basics of the shot correct, and to do so quickly without having to think too much about it. After that, don't leave a statistical opportunity for focus, framing, lens flare, or lack of patience ruin your shot. I've learned to engage more and longer with a subject and to get as many angles and shots as I can over a couple of minutes. Bracketing will produce a nicer composite than pulling the bits to the extreme. Lens not wide enough? Hit AE lock and stitch a 3x3 or 3x2 panel. Some of my favorite shots are 40+ mp composites. There's a lot you can do with a good prime lens in post if you maximize your shoot for editing in post. Likewise, there is no reason not to use exposure bracketing if you're the least bit uncertain about the scene. How many stops of DR are in a 3 image bracket? Plenty. If Cartier-Bresson had modern equipment, I'm certain that he'd be making movies. I've learned to forget all that nonsense and use the tools already built into the camera I have, not the camera I'm lusting after.

fwiw

[AAlfano]

Right now I have:

• Nikon F-mount APS-C DSLRs (2) and lenses (4)
• Nikon F-mount manual focus 35mm SLRs (2) and lenses (4)
• Pentax K mount manual focus 35mm SLR (1) and lens (1)
• Pentax M42 manual focus SLRs (2) and lenses (6)
• Canon point and shoot 35mm compact

I'm not sure what I would do if I lost everything. For the past five years or so I've shot a lot more with my film cameras than my DSLRs. I'm almost at a point where I could give up the DSLRs and just use my iPhone for my digital needs, but I happen to have a couple of lenses that I like for them (the 35mm f/1.8 DX and 85mm f/3.5 Micro DX), and I just like having the option to shoot digital if I want to. I'm also concerned about the rising cost of film, so like having a way back into digital. But I'm not sure I would run out and replace them with brand new versions of the same if I was starting over. Then again I bought most of my gear used in the first place so would probably do the same to replace it.

I'm very happy with the film cameras I have now, although if I was replacing everything I would probably not buy both F-mount and K-mount systems and would pick one or the other. I probably would replace my M42 bodies and lenses just because I love the Takumar lenses so much.

---------- Post added 03-28-22 at 05:33 AM ----------

This did happen to me, in 2014. It wasn't lost to a fire but to theft from a storage area. I had nearly two complete systems in Minolta and Canon film equipment, with a few pieces of studio gear, and hundreds of rolls of unexposed films, and hundreds more of developed negatives and chromes, a portion of it from paid work. I never recovered and have been mostly a 1 camera 1 lens shooter ever since, and my photography has been much better for it.

I've flirted with commercial work enough to know that efficiency is equally valuable to us amateurs as it is to the pros. The time we have to invest into our hobby is limited, as are those brief fleeting moments when a natural light portrait opportunity shows up unannounced with a family member near a window. Having exactly the right gear on-hand and without-thinking ability to capture the moment is paramount to taking good photographs. When you pick up the camera to shoot, I've learned to flip on the intensity and block out everything else around me. 2-3 minutes of focused shooting is better than 30 minutes of casual pointing and clicking. Instead of thinking about when I'll be free for a shoot, think about it like a 30 minute session with paying clients. What do I need for prep? What's the material and/or concept? Is there equipment that I need to rent to get the job done? Would an assistant make my work faster and stay engaged with the subject? These things are all possible as amateurs but we rarely take advantage of it. The camera is only a small part of getting the shot.

Somewhat painfully, I have learned and continue to have reinforced in me that the biggest obstacle to improving my photography is a shortage of time. My shortcomings as a photographer certainly aren't about equipment, and even less-so a brand of equipment. One thing I've been forced to learn since losing all my gear is to get over the obsession with in-camera perfection, which wastes a lot of time fussing with accessories and worrying that I don't have enough of them or the right lenses. If there's a lens stuck to the camera, it's probably right enough. The old engineering mantra of "don't let perfect be the enemy of good" is equally applicable to in-camera stills. Without a bunch of lenses,. filters, and exotic films around as distractions, I've been forced to learn to use all of the camera. The gear collectors thumb their noses at the cheap end of the catalog, but even the cheapest bodies still feature bracketing, long exposure compositing (Olympus), 3 axis SR, programmable user settings that let me swap between landscape / portrait / action setups, and a range of JPEG settings, which I've learned can really suprise you when used in earnest and not just pointed at still life in the office. Or the dog.

Without new gear I've learned to shoot for contrast and latitude in the exposure to have more control while processing images later in post. You can't always prioritize a perfect exposure no more than you can always obsess over a perfect composition. Remember that your task while shooting is efficiency and using all of the camera. Landscape shooters should be comfortable spotting Zone 5 and using spot metering. Portrait photographers should be carrying a $5 gray card. Learn to get the basics of the shot correct, and to do so quickly without having to think too much about it. After that, don't leave a statistical opportunity for focus, framing, lens flare, or lack of patience ruin your shot. I've learned to engage more and longer with a subject and to get as many angles and shots as I can over a couple of minutes. Bracketing will produce a nicer composite than pulling the bits to the extreme. Lens not wide enough? Hit AE lock and stitch a 3x3 or 3x2 panel. Some of my favorite shots are 40+ mp composites. There's a lot you can do with a good prime lens in post if you maximize your shoot for editing in post. Likewise, there is no reason not to use exposure bracketing if you're the least bit uncertain about the scene. How many stops of DR are in a 3 image bracket? Plenty. If Cartier-Bresson had modern equipment, I'm certain that he'd be making movies. I've learned to forget all that nonsense and use the tools already built into the camera I have, not the camera I'm lusting after.

fwiw

This is an excellent, excellent post.

[que es tu]

I would pretty much replicate what I have now. I am 1 lens away from having my “dream kit”, so I would like to realize that. (Of course, my dreams are small, but hey, they’re my dreams!!!)

[RoxnDox]

I would most likely do some research time and get a high quality bridge camera - no idea which one. As an amateur mostly doing snapshots for myself, convenience mostly outweighs the ultimate quality of the hardware.

That or I’d buy the small wood lathe I have been lusting after.

[Craigbob]

This would be a tough choice for me. I had to make a similar choice back in late 2016 when I realized that I'd outgrown my Canon 70D and gone as far as I could with my current gear, I decided to look around for a Full Frame system to replace it. I didn't have any EF or L series lenses So I knew I'd have to invest in a new lens system anyway. Canon was out because i was missed that I couldn't use my EF-S lenses on on a FF body, and the FF digital cameras weren't compatible with the older FD mount lenses.

Mirrorless was way to expensive at the time and I had a budget I wanted to stay within. I also had a few wants/needs for a new body that i wasn't willing to give up on. I needed a moveable rear LCD screen. I shoot a lot of astrophotography and trying to contort my body to see the screen was a non starter. Likewise I wanted the body to have good backwards lens compatibility since I knew that I'd likely be buying some film era lenses to start. I wanted IBIS since IS lenses are more expensive and not on all lenses, nor on older film era lenses.

There were no cameras that matched what I was looking for and I was resigned to make do with the 70D until something did. Then read about the Pentax K-1 It met all my needs and then some. I've been quite happy since I bought it in early 2017. Got some good used lenses at great prices and except for one or two minor gripes I'm happy to use my K-1. But if I had to start over I'd probably go with Nikon either a Z series mirrorless or a used D850. The main reasons for the switch is 3rd party compatibility. Pentax is the red-headed stepchild and doesn't garner much support for 3rd party lenses, nor astro software/hardware that can fully control the camera. These things are becoming increasingly important to me. Yes I've got a system that works and gets great images but it's a pain to cobble together all the bits and bobs that I need to do what I want.

[AfterPentax Mark II]

If that happend I would jump for joy. Finally got rid of all those heavy lenses and camera's.

[DeadJohn]

If I started over again, I would very strongly consider a Sony body with Sigma lenses.

Why Sigma lenses? Sigma service greatly impressed me. Very fast response to emails and calls, free lens firmware upgrade even though out of warranty, quick turnaround, etc. Sigma can still do repairs in-house and also offers a choice of multiple third-party repair centers. They currently have a 4 year warranty instead of most companies' 1 year. I was disappointed to see Sigma leave k-mount but I understand why.

Why Sony body? I have no burning desire (burning, losing gear in fire, pun was unintentional) to change from Pentax but this seems the best way for me to get access to Sigma. I'm neutral on mirrorless vs OVF; they each have their own benefits. Sony's been innovating and I prefer them over Canon and Nikon. I'd miss the Pentax astrotracer but I have a compact mechanical tracking mount for that.

[gatorguy]

if I could start over I'd choose one K3III and one K70 or K1 (not sure which), a half dozen core lenses, one flash and a couple of strobes with a modifier or two and call it a day.

I've spent thousands on lenses that honestly don't benefit me, softboxes and backdrops I never use, two very good tripods that I know I won't use. That's not counting premium filters and holders and cases and bags and.... Good gravy, this is really all a simple hobby that doesn't need a lot for results. I just get sucked into the marketing.

But there's zero question I'd do Pentax all over again.

[IsaacReaves]

"Pentax is the red-headed stepchild and doesn't garner much support for 3rd party lenses"

True, but Pentax glass is searched the world over for use on mirrorless bodies. The only company I have a real issue with is Canon. Everyone else has high quality, well priced glass available from the manufacturer. Fuji, Nikon, Pentax, Sony, Panasonic, and Olympus all have outstanding no-nonsense lens lineups. Honestly I don't think you can go wrong with any of them.

Canon is more like a bad drug habit. You've got your choice of poison, but the community thrives on one-uppism and suckering newbies to fund their upgrades. Another annoying problem is that all the scammers and thieves are heavily focused on Canon gear making the used market a bit of a challenge to navigate. We are fond of the Canikon term to express disdain with their hegemony, but Nikon only has about 17% of the market, and Canon has nearly 50.

In summary of my word salad, I'd say that Pentax is a great way to love redheads and keep my marriage.

[Craigbob]

"Pentax is the red-headed stepchild and doesn't garner much support for 3rd party lenses"

True, but Pentax glass is searched the world over for use on mirrorless bodies. The only company I have a real issue with is Canon. Everyone else has high quality, well priced glass available from the manufacturer. Fuji, Nikon, Pentax, Sony, Panasonic, and Olympus all have outstanding no-nonsense lens lineups. Honestly I don't think you can go wrong with any of them.

Canon is more like a bad drug habit. You've got your choice of poison, but the community thrives on one-uppism and suckering newbies to fund their upgrades. Another annoying problem is that all the scammers and thieves are heavily focused on Canon gear making the used market a bit of a challenge to navigate. We are fond of the Canikon term to express disdain with their hegemony, but Nikon only has about 17% of the market, and Canon has nearly 50.

In summary of my word salad, I'd say that Pentax is a great way to love redheads and keep my marriage.

Don't get me wrong, I love Pentax, and I have ever since I got my 1st MV-1 and ME Super back in the '80s. I fully agree with you about Canon, one of the biggest upgrade scams I've ever seen. If I'd have been able to use my EF-S lenses on a FF body, I'd have probably upgraded to the 6D only because I wouldn't be forced into a new lens infrastructure. But since I was.... Canon lost a customer for life.

The 3rd party lens issue with Pentax is a smaller issue for me than the lack/lackluster of 3rd party support in the astro community. Products such as N.I.N.A - NIGHTTIME IMAGING 'N' ASTRONOMY, APT - Astro Photography Tool, and others not supporting Pentax DSLRs makes life a bit harder for us Pentax Astrophotographers. I'm frequently surprised and get comments on how well my stock K-1 captures the red end of the of the spectrum.

[DWS1]

At this point in life if I lost everything and was fully compensated for it, I would get a K3iii, DA 16-85, DA 55-300mm plm, and a GRiii or GRiiix. Take what's left over and go on an extended camping trip to either Yellowstone/Teton area or southern Utah/northern Arizona, or both.

[IsaacReaves]

Don't get me wrong, I love Pentax, and I have ever since I got my 1st MV-1 and ME Super back in the '80s. I fully agree with you about Canon, one of the biggest upgrade scams I've ever seen. If I'd have been able to use my EF-S lenses on a FF body, I'd have probably upgraded to the 6D only because I wouldn't be forced into a new lens infrastructure. But since I was.... Canon lost a customer for life.

The 3rd party lens issue with Pentax is a smaller issue for me than the lack/lackluster of 3rd party support in the astro community. Products such as N.I.N.A - NIGHTTIME IMAGING 'N' ASTRONOMY, APT - Astro Photography Tool, and others not supporting Pentax DSLRs makes life a bit harder for us Pentax Astrophotographers. I'm frequently surprised and get comments on how well my stock K-1 captures the red end of the of the spectrum.

APT supports ASCOM. there might be some hope with a custom driver:

GitHub - FearL0rd/ASCOM.DSLR: ASCOM Driver for DSLR Cameras

It's said to support Pentax in the description. Maybe you've tried before, but I looked into the software a bit since I didn't know what it was and thought I'd share! (I'm a software engineer by trade, but windows and HW drivers isn't my wheelhouse).

[K-Three]

I am 1 lens away from having my “dream kit”

This needs to be the next PF T-shirt,
We are all always 1-lens away.....

[BigMackCam]

I've been mulling this over since the thread began...

I certainly woudn't switch hobbies. I really enjoy all the various technical and artistic aspects of both digital - and, recently, film - photography. There's such a lot to learn, so much to try, so many opportunities for challenge, growth and satisfaction. I'll never be able to learn it all, so there'll always be something new for me to explore; plenty of areas where I can work to improve my abilities and understanding. That's an ideal hobby for me Plus, I do have other hobbies and interests, so when I need a break from photography, I focus on one of those for a little while. I always come back, though

And so to my gear...

I'm fortunate in that I really like my current equipment - I've been using it for some time, I'm happy and comfortable with it, and I don't wish for more or different. I own way too much gear, though... so much that - at times - I think it actually gets in the way, clouds my judgement and makes decisions on what to use and why unnecessarily difficult. So, in re-equipping myself I'd go for a pared-down version of my existing kit with a couple of minor modifications.

In digital, I'd buy:

- 2 x lightly-used K-3, K-3II and/or KP bodies (two, because I like to have a main and backup)
- 1 x Samsung GX-10 (it's my favourite camera when low ISO shooting is possible)
- All the HD DA Limiteds - 15/4, 21/3.2, 35/2.8 Macro, 40/2.8, 70/2.4 and 20-40 WR (I really like all the primes, and the 20-40 is useful for a number of reasons)
- HD FA35/2 (fast enough and extremely versatile on APS-C)
- D FA 50/2.8 Macro or Sigma 50/2.8 EX DG Macro (for digitising 120 negatives, but also as a general-use 50)
- D FA100/2.8 Macro WR (because, well, duh! - and it's perfect for digitising 35mm negatives too)
- HD DA18-50/4-5.6 (an inexpensive, WR standard zoom lens is always handy)
- HD DA55-300/4-5.8 WR - yes, the screw-drive model (despite its compromises, it has become my favourite long lens)
- Tamron 28-75/2.8 (my most-used walk-around lens; out of all I own, it's the one I couldn't do without)

Much as I love my vintage lenses (especially those from the former Soviet Union) and I've enjoyed them greatly, I wouldn't re-buy them... I'd stick with the relatively modern AF glass listed above.

I'd also buy a couple of simple, manual (i.e. non TTL) flashes, basic triggers, a decent tripod, and a ColorChecker Passport for profiling.

For film, I'd pick up a couple of inexpensive vintage 35mm and 120 cameras off eBay... not SLRs - just simple fixed-lens models, like the Olympus Trip 35 and Agfa Isola II 120 I currently own. I'd re-buy my developing equipment and chemicals, and I'd need a copy stand, light panel and film holder so I can use my DSLRs and macro lenses to digitise negatives.

Did my laptop and monitor die in the fire too? If so, I'd get the closest thing I could to my current setup - a Lenovo Legion 5 17" with recent i7 processor and NVIDIA GeForce RTX-something graphics, and a BenQ 24" monitor. Most of the software I use is open-source and freely downloadable. The few items of commercial software I use are licensed online, so I wouldn't need to re-buy those

Looking over my list, I realise it's still a lot of gear I know that I could get by with much less; but this is what I'd like... ideally