Your post brings a whole host of things to mind, along with a number of questions.....
What lenses are you using? I ask this because, I have (or am) traveling down a similar path with no conclusion or destination as of yet. I like wide angle, landscapes - and really enjoy the additional detail. I have stitched, and in a number of situations, have not obtained the desired results. What I have found is that lenses certainly are a key component in all of this. I have this one test spot near the house that I experiment with - trying to catch a certain look at sunset - with mixed results - using both wide and stitching, along with bracketing and stacking, separately and together.
- DA 10-17 - I really like this lens. Its certainly wide enough, and I can frame to minimize the distortion. The contrast and colors it produces are fantastic. However with the wide field of view on the sensor, you loose detail, as each individual pixel has to cover a wider field of view.
- DA 12-24 - One of my most favorite lenses. Its field of view is great and I have done a lot of stitching with it. Its contrast and colors when compared to the 10-17 can be lacking in certain cases, and I don't know why. This said, with a smaller field of view, the detail certainly increases.
- DA 16-45 - I have not shot with this in a while, since I need to send it in to get the focus gears repaired. But with its even narrower field of view the detail increases even more. It has wonderful contrast and colors with it and the zoom range for me certainly adds to its flexibility. Since it needs repair, and with the acquisition of the 31 and 28, I do find that I have not been really missing it though - come to think of it.
- FA 31 Ltd and Carl Zeiss 28/2.8 Distagon - I'll group theses two lenses together, because in terms of landscapes and detail, still using something reasonably wide, neither of these lenses can be beat. Their optical qualities are captured by the sensor, and the amount of detail is beyond question. Their color and contrast are extraordinary, although each has its own character, they are both equally great in slightly different directions. I do have to point out there is some inequity here in comparing a couple of fantastic primes against zooms - and their respective focal lengths just amplifies the differences in this respect.
Now obviously its impossible to capture the field of view of the 10-17, with the detail of the 31, in a single image on any ASP-c sensor. Stitching is certainly possible, and your ability to capture a landscape is certainly enhanced by good mechanical support (tripod, head - ability to setup and pan level). Increased focal length does enhance the ability to capture detail, just through the reduction of field of view as the scene is projected on the fixed sized sensor. Stitching helps get around this limitation. However, let's not forget the capabilities of the stitching software, along with the lighting conditions and composition in aiding the post production software to stitch correctly and accurately (i.e., it can be difficult to stitch landscape compositions at night). There are a lot of factors at play here - mainly limited by the sensor's size.
There is the obvious difference between film and digital. Digital is certainly easier to work with, however there is the definitely the limitations of sensor size as opposed to film. Larger sensors - film does have its advantages.
Larger format cameras - larger size, larger glass, etc., were all developed just for this purpose. Its a trade off of the various compromises that photography is filled with.
For me, the K5 is the right size, and I was able to get it at a reasonable price. I am not going to switch makes and start over, so for me Pentax is it (and I am not sorry in the least about my selection). The most I can go is full frame, but I have not specifically looked for FF lenses. Film has additional costs in both time and funds, plus I like the immediacy of digital.
I once read a post here (at least I think that it was here), that the person wound up next to an older film photographer with a large view camera. They were both shooting the same scene. It took the film guy 10 minutes to setup and frame the scene, checking everything twice in a very methodical way. Waiting for the right moment, and then finally taking the image. The poster burned through a number of images, When the film guy was packing up, they were talking and the film guy said something to the effect, that yes, he needs to take his time and check everything since it costs him $15 an image and he needs to get it right the first time.