If young people are interested or become interested in photography I think they will find UHH. Starting in my late teens I would buy every issue of Popular Photography and Modern Photography I could find.

When visiting Paris in 2009 there were many persons both young and old using digital cameras of all types. Many were point and shoot types but there were numerous DSLR's represented. In Paris this last Oct. the only cameras I saw were in my hands and those of a couple of pros creating wedding albums. Quality beyond that of a phone camera is not important to most people. What they are interested in is a memory, a snippet in time not the image itself and that's ok. I've taken quite a few snippets myself.

If I'm awake for 15 minutes or so I just concentrate on my slow rhythmic breathing and that usually allows me to go back to sleep.

I have many suggestions like the ones posted but I will stick to just one. If there is any way possible you can afford a personal guide by all means do it. Even if you might have to scrimp on something else. Maybe just for a couple of days, one for the Louvre and possibly the Orsay and another for Paris in general. My wife's guide for the Louvre got her past the lines and in the back door. The guide can be an asset in directing you to your areas of interest. The Louvre is way too large to see in just one day. Don't try to see all of it. I am including two fairly unusual views of the Eiffel Tower that without our guide's lead I seriously doubt I would have found on my own. The one including the Statue of Liberty was taken from a unique spot where one step forward or backward would have obliterated the view. The guide also took us to the artist's square near Sacre-Coeur Basilica where I had an artist cerate a small canvas for me.

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I have preached Cotton Carrier for years. I have relegated myself to the Sling Belt since at 87 I recognize the possibility of tripping on uneven ground or cobblestone streets and I don't want the camera between the ground and my chest. I carried a Nikon 7100 with a 18-140 lens around Paris for 6-7 hours a day without hardly noticings it.

I have a hard time telling whether your comments are tongue in cheek or not. I seem to believe that some of your comments that appear snide are really just tongue in cheek. I know you're sold on full frame mirrorless but please. Could you give us a code signal to tell the difference?

What he meant was to set the ISO setting on auto ISO not the camera. Set the camera on manual, select the most open F stop and select a shutter speed you feel that you can hold steady. Any lens below 100mm, 1/200th second should be more than fast enough. The camera will automatically adjust the ISO to give the proper exposure. Be sure to check the post concerning white balance.

A few addendums to my previous post. An excellent way to assure focus is to see where the infinity symbol on the lens rests when focused on something far away, a distant mountain or the moon would be excellent choices. Before the eclipse set the lens at that point and immobilize the focus ring with electrician's tape to prevent accidental movement. One less thing to be concerned with. Just don't forget to remove the tape afterward. I speak from experience. Here in Texas the eclipse begins a little after12:oo and ends a little before 3:00. That means the camera will be pointed almost straight up and it will be virtually impossible to look through the eyepiece of a camera mounted on a tripod at about eye level. I consider a right angle viewfinder a must. Lastly, practice, practice, practice. There will be plenty of sunny days to determine what the best exposures, f stop, shutter speed and ISO combinations are. Practice indoors the transition from partiality to totality. Totality will last about 3-4 minutes and you don't want to lose some of them fumbling to mount the camera on the tripod, trying to remove an overly tightened filter, inserting the remote release, and disengaging the image stabilization, (if necessary).

Thanks for the info, I was just relying on my recent experience with the annular eclipse. Perhaps the best way to guarantee focus would be to do what I did in 2017. Since some lenses can focus beyond infinity check where the infinity symbol is when actually focused on something very far away, ie. the moon and before the eclipse set the focus ring there and immobilize it with electrician tape to prevent accidentally changing it.

Google Nikon USA, How to Photograph a Solar Eclipse and also google an eclipse map for the location you will be using. It should provide the times and durations of the different phases, The following info is from my photographing the 2017 total eclipse. You do not need f2.8, the whole thing can be shot at 5.6 or f8. I used 2 cameras both in DX format with an 80-200 lens during totality and an18-300 for the partial shots. this means my 35mm equivalents were 300mm and 450mm. Still they both required cropping which didn't seem to effect the images. Your camera is full frame so the 400mm is probably minimum. If your lens is not a zoom I strenuously suggest renting one since with the filter in place the viewfinder is completely black unless the sun is in the frame and at 400mm it is very, very difficult to find the sun even though you think you know where you are pointing the camera. I routinely zoomed out to 50mm to find the sun and then zoom in on it. Contrary to another post the camera will autofocus with the filter on if the sun is in the frame and the focus spot is on the sun's rim. Find Thousand Oaks Optical and other solar filters at Amazon. You will only need to remove the filter once when entering totality and reattach it only once when leaving totality so forget about magnetic filters. Shutter speeds during the partial phases will be 1/50th to 1/1000th at ISO about 640 so you can hand hold or use a monopod and reserve the tripod and release for totality where the speeds will be in the 1/80 to 1/500 range at ISO 200. During totality you will want to take several exposures at different speeds to capture the different aspects of the corona. I have included three shots for illustration purposes. An orange sun, monopod, (different filters different colors, the true color of the sun is white), 18-300 @ 300mm entire frame. A partial eclipse, monopod,18-300 @ 300 cropped and one of totality, 80-200 @ 200, f8, 1/125th at ISO 200 cropped.

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The camera will focus with the solar filter on if the sun is in the frame and if the focal point is on the sun's rim.

I'm 87 and here are a couple of tips from Clint Eastwood to beat the sucks. Stay active, have an exercise program at least several days a week and if when you get up in the morning the old man tries to sneak in, kick him out

Having recently made a similar decision on a trip to Paris, I would grab the 7000 and the 18-105 and never look back. I used a 7100 and an 18-140.

To all of our more seasoned hoggers, I say keep at it. I'm 87 and I try to follow Clint Eastwood's advice, stay active. Have an exercise program that includes strength training and walking at least a few days a week. His other bit of advice that I follow is that when I get up in the morning and the old man tries to sneak in, I chase him out.

I began my love affair with photography circa 1952 with a Leica 111f, with a 3.5 Elmar lens that was a replacement for my mother's Foth Derby. My progression from there was a Leica M3 and Mamiyaflex two and a quarter square to a Nikon F and a Rolli 35 to a Nikon F3, to Nikon N100, to Nikon D200, to the two I now use, a D7100 and a D500. I doubt I will be transcending to mirrorless as the DSLRs are doing fine.