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Since most of the shooting I do is under-exposed because I dont use anything
higher than ISO 100 on the Sony (probably limiting myself but its what Ive
been doing) I find slightly more advantage with RAW on the 828.  Simply using
the exposure slider in Photoshop CS raw plugin gets the picture where I want
it (usually) with less noise (hopefully) than I would get with the higher ISO
setting.

When I bought the 828 I was going by my experience with the 717 and figured
it would perform at least as well plus give me the RAW files.  Though its NOT
exactly what I expected, I wouldn't say I regret buying it, as I sold enough
photos from it to pay for it several times over in the first 3 months I had
it.

Its MUCH faster than any other Point & Shoot I have ever used except the Sony
V-1. (its about equal to the V-1, MAYBE a little faster)

I must add here that getting shots I can sell is a priority, but its not my
only priority, and thats why Im a little dissapointed with the 828.  I have
often gotten pictures that would have been "just a little better" if the
camera had lived up to my expectations and I hate to sell them that way.  
Sony, however, is not responsible for my expectations, so I guess my only
REAL complaint is that the camera was (and still is) overpriced.

When I got the 828 my choices in the same price range were limited. (July
04).

For a thousand dollars I could get the 828 or a Digital Rebel, everything
else in the price range didn't seem to be "value for money".

I almost got the Rebel, but then I did the math... I NEEDED the full range of
the lens on the Sony, and if I were to get it I would need to buy the Rebel
and at LEAST two more lenses. The kit lens on the Rebel would only be
suitable for "Posed" shots (about 10% of my shooting)  

Ive never been able to settle for "cheap" lenses, so if I were to get what I
needed from the Rebel, I'de need to spend about $3000 up front. Ya' cant do
that on a 1000 dollar budget.

Knowing the quality of the lens on the F-717 was a selling point for the 828,
and I must admit that the 828 is the ONLY camera I ever bought without
holding/shooting/testing first. I have experienced NO disapointment with the
lens on either the 717 or the 828

The final clincher (for me) was the cf-card slot on the camera.

One of my regular photo customers is a specialty clothing designer (Western
Wear for Western Riders), and she uses her photos to advertise the stuff she
is wearing in the picture.  

I have found the VERY SLIGHT color inacuracy in the Sony is sometimes a
hindrance in this, so when I'm shooting her I usually use the Fuji S7000 if
she is wearing any shade of GREEN or LIGHT BLUE.

The Fuji SEEMS a little more accurate for that kind of shooting.

The Sony doesn't seem to discriminate well between the "Greenish-Blues" and
the "Blueish-Greens" she seems to favor.. (probably due to the "emerald"
sensors) Outdoors in Sunlight, carefull exposure settings and NO AUTOMATION
except focus can make the Sony get the colors right, but most of my pictures
arent taken under those conditions.

The subtle differences show up better with the Fuji set on "Chrome" color.
(Im not sure what that setting is SUPPOSED to do, but I THINK it makes the
picture look more like it was shot on FUJICHROME film, probably should get
around to RTFM)

Right now I'm thinking about what to do for the oncoming season (my shooting
season is April through October for horse shows) I'm hoping the income from
the first couple of shows will be timed right for a good DSLR. (I must admit
to yearning for the Oly E-volt with the self cleaning sensor gadget, but the
lens range isn't there yet for any price.)

Here again Im looking at a camera that doesn't inherantly have the lens range
I need!  

This is why I've been stuck in the ZLR area for so long. I dont want to be
out in the middle of the show ring, changing lenses!!!

When Im in that ring I need 30mm to 210 equivalent MOUNTED AND READY and to
get that on a DSLR with a high quality lens is NOT going to be a small matter
of "pocket change".

The "Show Rings" I shoot in are getting BIGGER, figure 100 ft. by 200 ft.
(minium)  and the picture I want can be ANYWHERE in that ring at any time
during the class Im shooting!  

In reality, I can only cover about 1/4 to 1/3 of the ring at any given time,
and my flash can only fill a given area, so having the lens ON THE CAMERA for
the whole 7 to 12 minutes of the class is imperitive.

Picture in your mind, taking photos in a room where they are sand blasting a
car body with no ventilation and you can get an idea of the environment I
shoot in. Luckily the dust level is usually only bad at the END of the class
and I get my pictures during the first 3/4 of the class, but I cant exit the
ring until the horses do, so the camera is exposed to ALL the dust.. I
usually tuck it under my vest for the last minute or two of the class to
protect it as much as possible.  

Granted the dust is (mostly) non-abrasive (its 80% ground-up horse-dung) and
can be brushed off the camera with a soft make-up brush,and blown away with a
bulb, but it gets INSIDE every DSLR I have seen in the ring, almost
immediatley. (its probably the major reason most horse show event
photographers dont do what I do unless they are using film). So far Ive not
had it intrude on the inner workings of either the 717 or the 828.

If my incomming e-mail is any indicator, I may well have more business than I
can handle this coming season, and the price of a new E-volt with a perfect
(for me) lens wont be out of the question. My print costs are LOW and I'm
finding more people are willing to pay for several (or a dozen or more)
pictures on cdrom than are willing to pay for individual prints.  I do, of
course, put Logos on ALL photos on a cdrom, and include a warning label about
copyright rules on all cdroms delivered. So far, all of my pictures that I
have seen published have been done so with my permission (and my thanks). I
have had only ONE case where the photo had my logo trimmed off by the
publisher, and no credit was given.  I di recieve an apology (un-solocited)
from the publisher.

Hope I haven't rambled on too much..

If anyone is interested, some time this weekend (probably Sunday) I will post
my experiences with the Fuji S5000 and the Fuji S7000.

I own a Panasonic DMC FZ-20 5mp 12x zoom digital ZLR camera and because of that I can post
to this group and talk about it as much as I like. I really enjoy using this type of ZLR camera. It's the
best in its class. What type of ZLR camera do you own?

In Message-ID:<opslo9zwn1lw3qwu@jsp.ajato.com.br> posted on Fri, 04 Feb
2005 23:20:10 -0200, J.S.Pitanga wrote:

"Zomm"?
It gets curiouser and curiouser.

I thought back in the '50s the new term "reflex" was just a
bastardization of reflected when first applied to viewing systems
incorporating a mirror rather than a straight through viewfinder.
If your not composing and focusing on a ground glass at the film plane,
then you're bending the path for convenience, whether you do it
optically with a mirror behind the lens or electronically with a wire
from the sensor to the display screen.

David J Taylor commented courteously ...

Hi, David.

I, too, have a Nikon 5700, you may have seen my rants and
pleas for help with flash exposure problems on
rec.photo.digital.

Do you, perchance, take flash pictures in museum settings
with your 5700, either with the built-in Speedlight or an
external flash? If Yes, how are your results.

Thanks.