Hey, Terry. I guess it comes down to personal preference on the D7 change. From the conventional fingering, I can slide #3 up a fret and bring #'s 1&2 , as a unit and keeping them in their same relative position, over to the 2nd and 3rd strings very smoothly and quickly. With the other fingering, yes #1 can readily be planted on the 2nd string, but #'s 2&3 have to "swap places" on their way over as well as spread out to different spacing. I find that more awkward.

Something you may want to try out is an alternative G7. Use the pinkie on the first string, 3rd fret, a la "nephew" form. Use fingers # 1&2 on the 5th & 6th strings, a la conventional form. Now put #3 on the 4th (D) string, 3rd fret, to add an F note. This puts the dominant 7th sound (F) in a lower register than the "normal" G7 chord. I find it preferable in some situations. See how you like it.

On the C7, it sounds like you're forming a 6-string C chord, with the pinkie and #3 on the 5th & 6th strings. Make a 5-string C, with #3 on the 5th string and not playing the 6th at all. Now the pinkie can readily add the dominant 7th note (more properly called Bb than A# in a C scale--same note either way) on the 3rd string.