Using an all-digital workflow, Dave's current (and ever-evolving) equipment list includes:

DSLR Bodies:

Nikon D3 Digital SLR
Nikon D700 Digital SLR
Nikon D500 Digital SLR
Nikon D80 Digital SLR

Lenses:

FX Primes:
Nikkor 28mm f/2.8 AF-D
Nikkor 35mm f/2.0 AF-D
Nikkor 50mm f/1.4 AF-D
Nikkor 50mm f/1.4 AF-S
Nikkor 85mm f/1.8 AF-D
Nikkor 105mm f/2.8 AF-S VR macro

FX Zooms:
Nikkor 24-70mm f/2.8 AF-S
Nikkor 24-120mm f/3.5-5.6 AF-S VR
Nikkor 70-200mm f/2.8 AF-S VR
Nikkor 70-300mm f/4.5-5.6 AF-S VR

DX Zooms:
Nikkor 18-200mm f/3.5-5.6 AF-S VR DX
Sigma 10-20mm f/4-5.6 HSM

Flashes:

Nikon SB-800 Speedlight

Support:

Bogen/Manfrotto tripod with a Bogen/Manfrotto grip-action ballhead
Bogen/Manfrotto magfiber monopod

GPS:

Dawn Technologies N2 di-GPS Mini GPS Receiver (for Nikon digital bodies with 10-pin port)

Field Storage:

Various Lexar, SanDisk, & Hoodman CF & SD Cards ranging from 1 – 8 GB
Epson P-6000 80GB Drive/Viewer
FlashTrax SmartDisk 80GB Drive/Viewer
Maxtor One-Touch Mini 160GB Drive
LaCie Rikiki USB 3.0 1.5TB Drive

Post-Processing:

2012 15" MacBook Pro Retina (2.6 GHz Intel Core i7, 16GB RAM, NVIDIA GeForce GT 650M 1024 MB, 500GB SSD, OS X 10.8.5)
Adobe Lightroom 5.0
Adobe Photoshop CS6

Retired Gear:

Nikon D300 Digital SLR
Nikon D200 Digital SLR w/SBD200 vertical grip
Nikon D70 Digital SLRs (2)
Nikkor 18-70mm f/3.5-4.5

Typical Configuration:

Generally, the 24-70 f/2.8 is mounted to the D700, the 70-200 f/2.8 is on the D3, and the Sigma 10-20 f/4-5.6 (15-30 equivalent) is on the D300. This configuration offers a seamless 15mm-200mm across three cameras. If more reach/pixel-density is needed for a specific situation, either the 70-200 f/2.8 or the 70-300 f/4.5-5.6 mounts to the D300. When the sun goes down, and indoors in dim light, the 50mm f/1.4 goes on the D3 or D700.

I'm shooting in Aperture Priority 99% of the time so as to maximize depth-of-field control. On the relatively rare occasion that I'm using flash, I shoot in Shutter Priority for better control of the flash sync-speed. I also make frequent use of Nikon's excellent implementation of Auto-ISO, particularly with the D3 & D700 on which ISOs up to 3200 can be used with impunity (a real paradigm shift from the "old days" of film photography).

Why Nikon?

In a word, ergonomics. There are very few settings that I can’t change on my Nikon cameras without taking my eye from the viewfinder. For the fast-paced subject matter that I primarily shoot, this is of the utmost import. The state of the art of today’s digital equipment is such that virtually any brand one chooses will offer cameras and lenses that provide the necessary quality and utility to make excellent photographs. Yes, each manufacturer brings different strengths and weaknesses to the table among their various offerings, but as

professional photographer, teacher and industry observer Thom Hogan often points out about today’s cameras, "If you can't get satisfactory prints of the largest size a desktop inkjet printer can produce, it's not the camera that's the problem". So, at the end of the day, it boils down to selecting the brand whose gear offers more of the strengths and less of the weaknesses that impact your particular style of photography. For me, first among those attributes is ergonomics.