When learning new, unfingered music you usually have to 'scout' your way through it patiently and figure out/pencil in your own (best) fingerings. It's customary to write in a fingering whenever a change of hand position occurs or where there might be some confusion over what finger to use, but it's also desirable to not 'overpepper' the music with fingerings on every (or almost every) note, as this impairs reading efficiency.
The reason some musicians will disagree with/change pre-printed fingerings in sheet music is because they find better finger combinations/maneuvers than those supplied and/or because their own hand size favors or requires a different fingering that's more comfortable for them and/or serves the musicality of their performance better.
J. S. Bach is reputed to have had just one principle for fingering: ALWAYS CHOOSE A FINGERING THAT LEAVES THE HAND IN GOOD POSITION TO PLAY WHATEVER FOLLOWS NEXT. To that I add the following corollary: Whenever there is a CHOICE of one or more possible fingerings choose the fingering which (1) is most natural (comfortable) for the hand; and (2) produces the most musical result. Usually, whatever fingering is most natural for the hand also tends to produce the most musical result.
A further help: Once you've fingered the music for both hands individually be sure to 'test drive' the COMBINATION of fingerings you've chosen to see how well your brain copes with the various simultaneous finger maneuvers. There are times when I will change fingerings that worked well initially for each hand when played separately but did not work AS well when the hands were played together in combination. Usually this happens due to coordination issues between the hands.