David switched to Fuji after using Nikon, Canon, and Sony. The move was to reduce weight without compromising quality. Fujifilm has created a phenomenal camera that is fun to use, and intuitive. It may be a cropped sensor, but you would be hard pressed to notice a difference from full-frame. The additional benefits of a cropped sensor are lighter lens, and greater depth of field.
A lens that should be in every landscape photographers bag. The ultra-wide view gives a unique perspective of the world. It is lightweight and extremely sharp from edge to edge. The only downfall is no weather sealing, so be careful in dusty or wet conditions.
One of Fuji's sharpest lenses that is built like a tank and gives you the 24-70 equivalent range. This lens is fully weather sealed, but quite heavy and expensive. David went with this lens for maximum quality, if you are looking for something more lightweight and cheaper, consider the Fujifilm 18-55 instead.
Another stellar lens from Fujifilm that gives you an equivalent range of 70-200. If you want the best Fujifilm has to offer, this is the lens for you. Stunningly sharp and fast, but on the heavy and expensive side. Another alternative is the Fujifilm 55-200 which give you more range with less weight and more dollars in your pocket.
When you need extreme telephoto! This is equivalent to 150-600 full frame, an incredible reach for such a relatively small and lightweight lens. Compared to the Fujfilm lenses this lens feels like a beast, but for the reach it is surprisingly small. David uses this lens for wildlife and telephoto landscapes to create unique compositions.
When 600mm is still not enough reach, throw this on and you have an equivalent focal length of 840mm. Focus gets slow from losing a stop of light, and some loss of quality, but it is acceptable for the trade off. This can also be used with the 50-140 to give you extra reach when you do not want to pull out the 150-400.
This is Jennifer's primary camera which she uses for her landscapes and wildlife. It reproduces colors beautifully for landscapes with plenty of dynamic range. The APS-C sensor gives her extra reach for wildlife, and it has one of the best autofocus systems on the market to help help her nail the shot when photographing wildlife.
We did loads of research to find the best wide angle lens for the D500 that still allowed her to use filters, the Tokina was the answer. It is extremely wide and sharp from edge to edge, it is built well but not to the same standards as a Nikon. Overall she is extremely happy with this lens and shoots a large amount of her landscapes with it.
This is a great all-around lens that covers a massive range of focal lengths. It is meant for a full frame sensor, so the actual reach is 42-450. When used on a cropped sensor only the best part of the lens is put to use, so it is extremely sharp for such a lens. It does have a slow aperture, so it can be challenging to shoot in low light conditions.
This is Jennifer's go-to wildlife lens, with a focal length equal to 225-900mm on the D500 it has incredible reach for it's size. She has found it to be extremely sharp and the autofocus to fast and accurate. It does have a variable aperture that is not very fast, so it also struggles in low light conditions. This is the best option for the price, as a fast aperture 600mm lens costs over $10,000.
Jennifer keeps this body around specifically for night photography, it is still one of the best bodies out there for this purpose. It produces extremely clean files at high ISO's and great colors for nightscapes.
One of the standard lenses for night photography, it is affordable, extremely wide, and does not have coma. Truly a must have lens for a full frame camera.
This lens has established itself as one of the best in night photography, it is exceptionally sharp across the frame and has little to no coma when stopped down to f/2. The field of view is perfect to capture stunning details of the milky way.