I understand what your friend is saying but you might be better served NOT leaving it on. My feeling is that slower and more deliberate is better. Using filters on digital cameras, implies that your attempting to get it right in the camera. This is exactly why I carry around a bag of filters. Trying to get it right in camera makes me slow down, think about the shot, and be more deliberate. In my humble opinion you learn more this way, then you do with a more run and gun approach. Not that you don't learn every time you pick up the camera, I just think that you learn more when you take your time to think about what you're doing.
With that in mind, understanding how circular polarizer works, and when the best time to use it, is more important than the convenience of always having it on the lens. My recommendation is to get a little pouch that goes on the side of your camera bag that is designed to hold these filters.

there are options it depends what operating system you are familiar with. Here is a Mac option

https://eshop.macsales.com/item/Apple/D101LG5916CS/

There is dust in these canyons, but not as bad as you might think. Photos taken with light beams picking up the dust are usually created by the guide throwing sand into the air. you will not need to cover your camera, but I would recommend limiting your lens changes. As others have already suggested, I would go with wide-angle and tripod.

Also, go at night!!! I have a fantastic guide several times, Lionel Bigthumb, he can get you in the canyon at night. Just remember a sturdy tripod, and cable release.
https://www.navajoantelopecanyon.com/tours.html

He can get you into several other canyons that are less traveled like Rattlesnake Canyon, and owl Canyon. I can't recommend him highly enough.

I just added Sony to my kit. My recommendation is to only keep the Canon glass that there is not a superior native equivalent. Right now that is the 50mm 1.4...the Sony 10-18 is very good, the 90mm macro is the sharpest available. If you don't need the 1.4 aperture I would only change that one also. being able to adapt lenses is certainly great, but your not looking at any "unique" glass here. For instance, I have adapted the canon 11 to 24, And Nikon 14 to 24 on my A7RII. I've also adapted old film lenses that give some pretty incredible looks. The artistic possibilities are really unlimited.

I think that you can find native Sony glass that will eliminate the need for an adapter, and will very likely be lighter weight. If you had any 1.2 glass, tilt shift, or big teles, I suggest you keep them and get an adapter.

Very nice!
We're heading that way next month. Or any other cool places that you found to take photos?

Thats a good point

I own it, and it's a very good lens. It's better than any of the current Nikon 35s, however Nikon also makes a very good 28, and 24. In this case, the information on DXO seems to be right on the money. I would Refer you to them, and "lens rentals" for more information.

https://www.lensrentals.com/blog/category/technical-discussion/lensoptics/

http://www.dxomark.com/

[quote=melismus]Hi, Watts,

I studied German in school but that was over 70 years ago, so I cannot really read your link, and I do not know what adapter you are talking about. I am most interested to know what it is, and to know what it is that you do not like about it.

We are in discussion with a manufacturer of photographic specialty items, hoping to reach a licensing agreement. Sorry to say, these things take time.

Tell me what lenses you want to mount, and to what camera body.

Best regards,

Paul[/Hi[/quote]
Hi Paul

Here is an review on the adapter that I have.
http://www.imaging-resource.com/news/2014/08/14/hartblei-introduces-hcam-master-ts-14-24mm-tilt-shift-optic-for-sony-e-moun

I bought the T/S adapter (Canon to Sony FF E mount) and it was $500 +/-. it works but...
1. The shift could be easier more accurate.
2. there is no center stop. If the camera is up high it is hard to tell when you are centered.
3. it only tilts in one direction.

I do like...
1. The adapter mounts to the tripod. (This is a must because it allows the camera to move and takes the weight off the camera mount)
2. how well made it is.

Stan is right, a tripod will have a huge affect, also set the self timer to 2 sec.
This will reduce shake even further.

Hi Paul
I have a similar adapter
http://www.hartblei.de/en/whatsnew.htm

And I would be very interested in yours. There are a few annoying things about this adapter that could be better.

Please keep us updated on your progress.

I think you'll find that Canon is also having a tough time.
http://www.reuters.com/article/canon-results-idUSL3N17T2B7?type=companyNews

Both Nikon and Canon need to shift their focus to new technologies (or releasing their existing technologies at a faster pace). Canon in particular has great technologies that they sit on until they feel like they have to release them. This is why companies that diversify and release new technologies like Fuji, and Sony are doing so well. That doesn't make them take better photos, but they certainly have their pluses (and minuses). When Sony gave Nikon the chip for the D800 it should have sent a clear signal to Canon. but instead Canon took years to come out with the camera that is in many cases only marginally better, and in some instances still not as good. In fact there are still companies that refer to the dynamic range of the D810 as " setting the bar" that others are compared against.


thttp://www.dpreview.com/articles/2799146766/fujifilm-s-latest-financials-show-strong-sales-of-instax-products-shrinking-sales-of-digital-cameras
http://www.dpreview.com/news/9101531532/sony-posts-significant-imaging-division-income-gains-in-2015-financial-year-end-report


Hopefully both Nikon and Canon will correct this trend. Ultimately a group of four or five healthy manufacturers leads to healthy competition which in turn leads to better cameras for us.

What you're referring to is flat stitching. it can be quite effective. The issues arise when there's something in the foreground, close to the lens. When this happens you can get a shift of the items close to the lens, and it makes stitching difficult. The best way to resolve this is to use a tripod mount that connects directly to the lens. In this way the camera shifts but the front of the lens never moves.

personally I have used a Nikon 24 mm, and Canon 17 mm TS. They both worked but obviously the field of view on the 17mm is tremendous. my current setup is with a Sony A7rII, Nikon 14 to 24 (with the hood cutoff), and a TS master adapter. this setup allows me to have all the tilt shift functions, on a zoom lens as wide as 14 mm. Also because the adapter holds the lens static, I don't get any shifting of the foreground.
The downside of my setup is the cost. In fact I would not recommend my setup unless you're being paid for product/architectural photography. I would recommend renting one of these lenses for weekend. Try it out. there's a lot more to it than just slapping the lens of the camera. having a sturdy tripod, and the right software are critical to getting the results.

http://wiki.panotools.org/Flat_stitching_for_tilt-shift_lenses

http://www.fredmiranda.com/forum/topic/1308120

http://www.hartblei.de/de/whatsnew.htm

Here is an example where shifting the lens would create real problems. In this example moving the lens would make it very difficult to align the chairs that are near camera.

(Download)

Welcome
you asked question that is pretty common on this forum. But I'm surprised that some of it's regulars are giving you questionable advice. For instance "number one camera company"? all of the modern DSLR's and Mirrorless cameras make great images. And you're AE1 didn't have menus and buttons that you would be able to relate to a new camera. there is no reason for you to stay with one brand.

So I think your best bet is to go to your local camera store, hold The camera in your hand, see which one fits you the best, then go from there.

You can do some homework first, there are some very good review sites posted in this thread. These cameras have very complex systems. Some of them are more intuitive than others. Sony for instance has a reputation for being very complicated. If the camera is complicated it can be frustrating to use. You will probably will leave it on the shelf. Don't get to caught up in specifications. You'll likely never see the difference. The only time you worry about specifications, is if you're going to be shooting sports. Then get ready to shell out some cash.

The wildcard of this decision is, do you have any friends/family that use the same camera or brand. Having a friend that is already using that camera or brand, can be huge. Sometimes just five minutes of explanation from somebody who really knows, makes all the difference.

I would start off the conversation with I have this much money to spend, and I would like to look at the Canon, Nikon, Fuji, pentax and Sony that fit within the budget. Don't let them steer you to their personal favorite. The camera the feels right in your hand is probably the best choice. Then I would ask do you have free classes (or at least really cheap).

Also if you have any of your old Canon stuff left. most mirrorless cameras will allow you to manual focus old lens via an adapter.

Yes she was being reasonable. Of course it is a matter of debate, but for a camera that could be 2 years old 6,000 is hardly used. I rarely see used cameras with this low of a count. it seems that most of them are 10,000-25,000.

It would be different if she bought it last month. Think of it this way...you will probably get 600-700 shots per battery charge. If you have 2 batteries that is about 5 days of shooting. I would be more interested in the physical condition rather than the shutter count.

I go down there all the time, please share the name of the camera store.