Simplifying for Storytelling: Why I Sold All My Camera Gear and Where My Channel Is Heading

Photography has always been about more than just gear for me.

When I first started this channel, like many photographers, I found myself caught in the endless cycle of gear acquisition — chasing the newest camera bodies, lenses, and tech upgrades, thinking they would somehow lead to better work.

But over time, especially over the past year, something changed.

I realized that the endless pursuit of “better” gear was actually pulling me further away from the reason I picked up a camera in the first place:

to connect with people, to tell real stories, to create work that felt alive.

That realization led me to make one of the biggest decisions of my creative life — I sold almost all of my camera equipment.

Today, I want to share why I did it, what I kept, and where this channel — and my photography — is heading next.

If you would prefer to watch the video then you can find that below:

Why I sold all my camera gear and chose Fujifilm Channel update

The Decision to Sell Everything

Selling off nearly every piece of camera gear I owned wasn’t a decision I made lightly.

Over the years, I had built up a strong kit — a full Olympus/OM System, a full Sony full-frame setup, and a significant investment into the Nikon Z system.

On paper, it was a dream — every focal length covered, technical excellence everywhere.

But as my goals shifted away from chasing technical perfection and toward storytelling, something didn’t sit right anymore.

Each system, for different reasons, felt less and less like the right tool for the work I wanted to create.

And importantly — I already owned a Fujifilm system alongside these kits.

I didn’t need to go out and buy new cameras to replace what I sold.

I simply realized that what I already had was actually perfect for the kind of photography I wanted to pursue.

Why I Sold My Olympus/OM System

My Olympus/OM kit was one of the first major systems I really invested in.

I admired the ruggedness, the weather-sealing, the compact size — they were brilliant tools, especially for travel and adventure photography.

But as time went on, I started to feel uneasy about the company’s future. Financial instability and questions about their long-term commitment to the system left me uncertain.

More importantly, I realized my work was moving toward people, culture, and storytelling — slower, more emotional photography.

And while the Olympus system was excellent technically, it didn’t offer me the same tools for storytelling depth, subtlety of color, and emotional connection that I was starting to crave.

In the end, I decided that it wasn’t just about whether Olympus could survive — it was about whether the system could truly support the photographer I was becoming.

It was time to move on.

Why I Sold My Sony Full Frame System

Sony full-frame cameras are often praised for their incredible autofocus, dynamic range, and sharpness.

And all of that is absolutely true — technically, the images were superb.

But there’s another side to photography that doesn’t show up on spec sheets.

It’s the feeling you get when you lift the camera to your eye.

It’s how the camera invites — or interrupts — the creative process.

As much as I admired Sony’s technical prowess, I found the experience of using their cameras cold and mechanical.

The ergonomics never quite felt right to me.

The menus were complicated.

And more than anything, when I looked at the files — as technically brilliant as they were — I often felt they were missing something.

Soul.

Photography, for me, needs a little imperfection, a little life breathed into it.

It’s not just about how sharp a photo is. It’s about how it feels.

And no matter how hard I tried, I never truly connected with the Sony system creatively.

Adding to that, I realized that when I needed even higher image quality for fine art or commercial work,

I already had my Fujifilm GFX 100S — a medium format system that offered more depth, more richness, and more subtlety than full-frame could provide.

Owning the GFX made the Sony full-frame system redundant.

There was no real reason to hold onto it anymore.

Why I Sold My Nikon Z Gear

Nikon was actually a system I loved using.

The cameras felt great in the hand, the image quality was beautiful, and the lenses — especially the primes — were superb.

But there was one factor I couldn’t ignore:

Cost.

Building and expanding a Nikon Z kit is expensive, especially compared to other options.

Every lens, every accessory, felt like a significant investment.

And knowing that I already had my Fujifilm XT5 and GFX 100S,

I realized that investing heavily into Nikon no longer made sense for my future goals.

I had everything I needed to create the work I wanted to focus on.

Nikon gear didn’t feel wrong — it just felt unnecessary.

What I Chose Instead: Fujifilm

After letting go of the Olympus, Sony, and Nikon gear, I didn’t rush to replace it.

I already had the tools I needed — I just needed to simplify around them.

Today, my kit is simple and focused:

• A Fujifilm X100VI

• A Fujifilm XT5 with a small, carefully chosen selection of prime lenses

• A Fujifilm GFX 100S for projects that demand ultimate image quality

The choice wasn’t just about size, price, or convenience.

It was about how Fujifilm gear makes me feel when I’m shooting.

There’s something incredibly satisfying about the tactile controls — the aperture rings, the shutter dials.

It slows me down, draws me into the process, makes me think more about each frame.

The JPEGs are gorgeous right out of the camera, with film simulations that capture light and mood beautifully.

This means I can spend less time editing and more time shooting, living, and connecting with my subjects.

The size is another advantage.

The Fujis don’t scream “professional photographer.”

They blend into environments much more naturally — which matters a lot when you’re working on projects that involve real people in real communities, especially as a foreigner living in the Philippines.

And creatively, the color science and the soul that Fujifilm files offer fit exactly the kind of work I want to make:

gentle, human, emotional storytelling.

Where My Channel is Heading

Selling off all that gear wasn’t just a financial decision.

It was a declaration of what matters most to me moving forward.

I don’t want to spend my time reviewing gear, comparing sharpness charts, or chasing the next big tech upgrade.

I want to spend my time out in the world, telling stories.

Stories about the people, cultures, and environments that are changing and evolving.

Stories that matter.

Stories that deserve to be seen and heard.

This channel will be less about specs and reviews — and more about journeys, quiet walks, photo essays, and small projects that build over time.

I’ll be sharing the process:

• Field notes from projects like Portrait of a Province and Wounds of the Land.

• Quiet vlogs from places around the Philippines.

• Reflections on photography as a way of seeing and connecting.

There will still be gear mentioned occasionally — I’ll show you the tools I use and why they fit —

but always in service of the larger story, never the story itself.

Final Thoughts

Simplifying my gear wasn’t about giving up.

It was about making space — space for better work, for deeper connection, for real growth.

I’m more excited about photography now than I have been in years.

And I’m incredibly grateful for everyone who’s been patient, who resonated with my previous video about moving away from gear obsession, and who’s still here.

This next chapter will be slower.

It will be more thoughtful.

It will be about life, not just lenses.

Thank you for being part of it.