Slot canyons, such as Upper and Lower Antelope Canyon, can be challenging for photographers. Areas of very low light often have intense rays blasting through the scene. Exposing for the light often means that shadows will be underexposed. Bracketing and combining the shots may help solve that problem, but only if you shoot on a tripod. Access is often limited. If clouds are on the horizon, some canyons can be deadly due to limited escape routes and fast moving water.
I prefer using a long exposure. I shoot at the edge of reciprocity failure when possible as it brings out color and adds a richness of under tones that faster exposures don’t deliver. Fast ISO and shutter speeds tend to record less of the subtle hues that really make canyon shots look fantastic. This often can mean that someone may walk through a shot, or that an unexpected ray may washout the desired look. To correct for those problems, time to reshoot is the solution. To minimize the effect rays have towards washing out a scene, I watch the light on my scene and use a light meter to make sure that the over all exposure is not more than 1 stop more than I am currently prepared for (unless I am using film).
Digital sensors and slide film treat over exposure the same way, no recoverable data can be obtained. Negative film has the opposite effect as underexposure with it is the worst case. Negative film generally makes the rays look better than slide or digital sensors as it doesn’t washout as easily and you can recover more information from the scanned image. Thus if I knew that I would only have one chance to shoot the slot canyon, I would choose film (but I would try to take both digital and film cameras).