Shooter's Block or Getting Out of the Rut

Writer's Block, Creative Block, losing interest, lost the spark...whatever you call it or however it happens to you, it is a frustrating thing.  Some people never get through it and just plain give up.  Some forever, others for a few years, some for a few weeks or days.

First remember, we ALL go through something like this at some point in time.  There is no shame in it.  Just recognize it and find a way to push through it and get that spark back.

Second, you are NOT ALONE.  At least, you don't have to be.  There are many photographers and creative types out there that can help you find the right thing for you that will re-spark your interest.

What I've done in the past to help me is:

• Find a personal project.  I did Sceene In Windows, and am working on 8 Corners and delving into video production.  You can even become a photojournalist, like I have with my Visual Ohio project.  Visual Ohio has actually gotten me visibility, work, and licensing of some images.  I just had a call the other day for use of an image I took at an event last year for that organizations media packet.
  I then shoot street photography for fun/practice.
• Sometimes you just have to step back from it.  By doing this, you'll find out what it is that really draws you to photography.  You'll start to get the desire to shoot again and when you do, what subject and how you shoot it can point you into a direction that will rekindle your interest.  Follow that path.
• On the business side - find something that no one else offers - master it and sell like crazy.  Around here there are lots of people doing themed shoots.  Normally they are cosplay or steam punk themed shoots.  If you have a few good locations in mind-  these kinds of clients tend to have their own costumes and want nothing more than someone to accept and respect them.   I'm working on offering a new product, which is something similar to a living storyboard.  We get a client(s) who has a story they want to tell and we go through a whole series of images that resemble a movie storyboard.  Can be real or imaginary...but the point is, no one in my area is offering it.  Once I get that flow down and better video chops, I plan on offering that same storyboard concept, except in video format - like a 5-10 minute short.
• You may need to find a new client base - corporate gigs are nice if you can get them, but I find that working with the same client for a long time, doing the same kinds of things can be very stifling on the creative side.  Forget outside the box, they generally don't want you even getting close to the sides of the box!!  As an artist - and yes, I definitely consider every one of us photographers as one - that kind of necessary but sometimes uninteresting work can lead to stagnation.  For those reasons, I do my personal projects, where the only limiter is either self imposed rules or none at all.  That is probably why I love street shooting so much.  All that "unknown" in front of you, not knowing what might happen that day.  Sometimes something special, other times - nothing at all.  What you can do though, is that the experimentation and creativity bleed into the other client jobs.

Again, trust that you'll get out of the rut, even the deepest one eventually.  You've got friends everywhere, lean on us and we'll help you get through it.

New Service Offering - Photography Consulting and Education

We are expanding our services to include photographic consulting and education!

What does this mean for you?  Read on below!

Ever have questions regarding which gear you need, devising a pricing schedule?  Let's talk about those things and get you on a track that is comfortable for you.  This is meant for fellow photographers who want to get to a different level in their photographic journey.

Are you just starting out, an amateur, advanced or professional photographer with gaps in your knowledge base?

We can help you understand photographic concepts as basic as getting a proper exposure all the way to advanced concepts such as off camera lighting, HDR.  Need help getting a workflow developed for your image creation through archiving and post processing (Lightroom and Photoshop CS/CC)?
Want advice on your portfolio?  We can sit down with you and look at what you have and help guide you to a cohesive end product.

We can help you with all that and more.  Contact us either by phone or email to discuss your needs and we can setup a schedule that fits your time frame.
If you are local (Central Ohio) we can also use the consulting/education time for one-on-one shooting sessions.  One of the best tools for learning is having a mentor to bounce ideas and talk out situations/concepts while on  an actual shooting session.

Consulting and education is billed by the hour and you will control the time and pace of the sessions.  We will not force you to pay for three hours of time if you can get what you need in 1 hour.

As with the photography services we provide to our clients, we want to provide you with the best "bang for the buck" education and consulting.  We feel our prices are reasonable for the value you get.

Our contact information is below and on our website.

Some of our work is shown above, but if you want to see more about what we do and what we produce, check out these links:
http://www.bestlightphoto.net
http://www.visualohio.com
http://bestlightphoto.blogspot.com

Andrew Livelsberger
614-571-0359
andrew@bestlightphoto.net

Fuji X-E1 and Discovering Dinosaurs!!

As you know, I have recently purchased a new "take anywhere" camera.  Wanting more than the Fuji X10 could provide me(the X10 is a GREAT camera - but X-E1 ticks all the marks on the checklist) I picked up the Fuji X-E1 with the 35mm f/1.4 and the 18mm f/2 lenses.  This package is only slightly larger than my X10 was and I can still fit everything into my Maxpedition EDC Versipack.  Stay tuned for a future post on what I did to convert my Versipack into a camera bag and the reasons I chose this bag in the first place.

I've been using the X-E1 more frequently, in hopes of being able to get it to the proficient levels I am with my DSLR gear.  I'm close, but not there yet - however, I am already seeing the great results from this camera that I was hoping for.

First off - there have been 2 firmware updates since I first picked up the X-E1.  Auto focus performance has gotten better, especially in lower light situations.  Secondly - for the price, the Fujinon XF lenses are absolutely wonderful!  Great sharpness, light, and very capable of doing what I want them to do.

I decided to put the X-E1 and the 18mm to the test.  My daughter and nephew were interested in an exhibit that was coming to town called Discover The Dinosaurs.  It was being held inside the Columbus Convention Center.  Not sure what to expect, I decided to bring only the X-E1 and see how it fared.  At best, they would have all the lights in the hall on and it would be decent to shoot in - OR - it would be dark with dramatic lighting.  As you can see from the images, the exhibitors went for the dark, theatrical lighting look.

A tough shooting situation to be sure, but the X-E1 and the 18mm were up to the task!

Check out some of my favorite images below:

The Angel Statue - In Memory of Our Neighbor

This time of year can be a mixed bag for some.  For most, it is a time of great celebration and joy.  Exchanging gifts, family get together's, music, singing, laughing.

For some it can be a time of great sorrow, especially if they are mourning the passing of a beloved family member.

Not too long ago, we found out that our neighbor had suffered from a stroke in her home and later went home to God.  My wife had known her longer than I - almost 12 years.
We have 3 dogs and they can be very vocal at times, but she never complained.  She was the sort that knew your schedule and looked after our house and let you know if someone was snooping about, and we would reciprocate.

She was always willing to talk with you anytime about anything.

She took special pride in her yard.  She had hired a lawn service to care for it professionally and she would be out almost every morning tending to her flowers or creating some yard art.

I remember one day a few years ago, I had approached her and asked if she minded if took some pictures of her creation.  You see, she absolutely loved angels and her yard contained more than a couple statues throughout.

I took this picture.

I had the picture printed and I gave it to her.  She started crying.  I asked her what was wrong and she just replied, "I'm just so glad that someone else sees the beauty that I do when I look at my yard.  Not everyone appreciates it."  I just told her that my wife and I do and to keep up the good work.

  A few days after her stroke, my wife spoke with our neighbors daughter.  The subject came up about the angel picture.  It turns out that the image was one of her favorite pictures.  She had written on the back of it - "I will treasure this picture for the rest of my life".
Her daughter took it to the hospital and put it at her mom's bedside.  She plans on keeping it in memory of her mother.

I can't explain the feelings that I had when I heard that.  There are so many things that we do for people that, at the time, seem so small or relatively trivial...but can affect them more than we realize.

I can honestly say that all the hard work in photography was worth it for just that one moment, when you realize that what you've captured and shared touches someone.  I don't care if I NEVER create another image.   I know that I have made a positive influence through my work to someone. I did something that made someone feel better about themselves, their lives and through my appreciation of what she had done with her yard....she paid me the ultimate compliment.

I just ask that every time you walk past a stone angel statue, reflect on ways that you can use your skills to positively influence others and make the world a better place.  Even the smallest gesture can mean more than you think.   Pay it forward.

PhotoBooth At A Birthday Party

I've been looking for additional ways of making income for my business and right now, there seems to be an upswing in the popularity of photobooths.

I recently had a birthday party and was asked if I could do a photobooth.  I had everything except for the software.  I do have lightroom, but wanted something more "end user" friendly.  Something that guests could do on their own.   I do have a 4x6 printer as well, but the client wanted digital sharing only.

The location did not have a Wi-Fi connection available, so instead, I tethered my 4G cellular phone to the laptop.  Worked great!
I picked up the dslrBooth software and it has the essentials that I will need to make the booth work the way I want.

All of my current Nikon cameras work with the software, which was great.  Just needed a good USB cable for tethering.

All the items I used:
Nikon D300
Nikon 24mm f/2.8
Tripod
Laptop
Table
Light stand
Alien Bee B400 w/ shoot through umbrella
Vagabond mini lithium pack
Radio Popper triggers
Backdrop stand
black backdrop
props

I was just amazed at how much fun people had.  I even got in on some of the fun!
Here are some samples from the guests that night.

"This camera makes me slow down and think about the shot...." -- An opinion piece.

I cannot tell you how many times I've heard other picture takers say this:
"With x-camera/film it forces me to slow down and think about the shot.  Unlike my DSLR, where I can spray and pray and not care about what I'm getting."

Obviously this is paraphrased, but you get the idea.

While it may be physically impossible for one camera to shoot faster than another(burst mode and all that), the determining factor on the speed of which you choose to take an image is made by the lump of grey matter behind the view finder.

I get it -- getting film, developing can be expensive and you don't want to just burn through your physical media.  However, to "blame" digital for allowing someone to shoot more frames faster is like blaming the frying pan for burning your grilled cheese sandwich.  The pan did not decide the amount of heat and how long you left the sandwich on it's particular side.  So, stop blaming the technology for YOU shooting thousands of frames when a hundred or less might do.

It's called self control/restraint and it needs to be exercised by the shooter.

Don't place blame, instead -- develop good shooting habits, such as:

1)  Learn how to properly hold/support your gear.
2)  Know when you'll need assistance and secure it(2nd shooter, assistant to hold the flashes/reflector, VAL)
3)  Understand and have a practical working knowledge of your subject;learn to anticipate when and where to press the shutter release for best effect.
4)  If you are in total control of the shoot, setup a shooting plan/diagram prior to the shoot.  This will give everyone a roadmap in which to work within.
5)  Know your gear and how best to leverage its capabilities to get the shots you want with ease.

There are many more things, but this is a good starting point and a good set of ideas to get your own thoughts flowing.

Remember - there is a big difference between a casual snap shooter and a pro photographer.  A pro does their best to secure all the elements of the image in the initial capture of the image.  That means taking the time to craft a shot that encompasses all the elements necessary to elevate your shot from a mindless snap into a potential work of art.  Don't let yourself get carried away in the moment to the point that your sacrificing a quality shot for a quantity of average shots.

Lets speak some truth - "manual" is better, right?

Reading articles in my spare time and there always seems a pre-dominance of people who are willing to give advice.  I've got no problem with that, do it myself on occasion and some people seem grateful others would like to rip my head off.   All par for the course, you've gotta take them as they come.   Sometimes you are right, sometimes you are wrong - take the good with the bad.

A peave of mine here lately has been(and this is not new, these types of articles have been running the gammut for as long as I can remember) bloggers spouting off the requirement of shooting in manual mode and/or stating that professional photographers shoot better than you because they shoot manual.  Manual everything - manual focus, manual exposure, manual flash.

Let us get one thing straight from the get go.  A professional does not get better anything because they shoot in manual.  A professional "should" get better results because they have educated themselves in their craft to the point that the technical aspects of their job are second nature and they can concentrate more on the art and staging of the shot.  A professional "should" know every aspect of their camera that is required to do their job successfully and fulfill clients needs.

A professional photographer should know when is best to use aperture priority, shutter priority, and manual mode.  What is the furthest they can push the ISO without losing the quality in the images they are capturing.  They know when to use ambient light, when to use speed lights or studio strobes, and when to mix the two.

"I am occasionally in manual exposure mode,say, when in a dark room where aperture priority will dictate to me an unreasonably long shutter speed. But, I tell you, if you only use these cameras inmanual mode because, as I have heard on occasion,you “don’t trust the camera,” or you “don’t trust the meter,” then you are taking a souped-up Ferrari and driving it like the little old lady going to church on Sunday. Why do that? Use the technology!  Take this puppy out for a spin and see what it can do."

       --  Joe McNally, The Hotshoe Diaries

What makes for a better image?  A newbie photographer with a Nikon D4/D800/Canon 1Ds Mark IV - or - a seasoned photographer with a experience and education on their side using a Nikon D5100 and a kit lens?   I'd take the experienced, educated photographer every time. 

Experience gains you the knowledge of creating successful images, and knowing how to get from A to B to C and not hoping to stumble across a great image by spray and pray.

At the end of the day, there are really too many factors to let any one person tell you that one way is the best way.  There are various ways to solving problems - so solve them how best it suites your situation.  If that means shooting in manual mode, then do it, if you are shooting through a fence or some leaves and your focus keeps getting locked on the wrong subject - throw that thing into manual and correct it - or leave it on autofocus and move your position!  You decide - I can shoot in matrix metering in aperture priority and use a little exposure compensation - you can shoot in manual - get the same shot - exactly the same shot.   Who is better?  Does the client care?  Did you deliver as promised?  If the answer is yes, then you made the right decision.

I'd think twice about taking too much advice from anyone that tells you they have "fool proof" methods of getting great images every time(unless fool proof equals experience and knowledge), systems, that one set of gear is going to get you better images over another.  Hell, question me too, for that matter!!  If we all agreed with each other all the time, how boring would the world be?  How could we learn other viewpoints and techniques?

"What is the best light to photograph with?"  He(W. Eugene Smith) responded, "The best light is available light".  He then added, "by that I mean any damn light that is available!"

       -- W. Eugene Smith

Besides, what is "better" anyway?  Talk about a subjective can of worms!  The only people that really matter at the end of the day that need chime in on "good or bad" are you and the client.   On the flip side of that - when you do ask for a peer review, take it from an open mind and realize that if you are asking a photographer their opinion - 99% of the time, you'll get a photographers opinion.  Then ask yourself - is that what you really want?  Do you want an opinion from a non art inspired, non-photographer type, your average joe/josephine as it were?   Target your inquiry to the group you really want the answer from, you'll get a better result that way.

Well, enough of my rant for the day.  Just remember that "knowledge is power"(Sir Francis Bacon) and "experience is an arch to build upon"(Henry B. Adams).

How I Got The Show #31: Light Painting Using a Doctor Who Sonic Screwdriver Torch!!!

Light painting is the technique of using a flashlight or torch as it is known in other places in the world to supplement the ambient exposure of a scene.

Those that also follow the VisualOhio blog may have seen the article I wrote up about the firefly light display in Blacklick Woods Metro Park in Reynoldsburg, OH.  This image was created using the light painting technique.

What I wanted to do was show the fireflies on the path that connects the multi purpose trail with Livingston Avenue entrance to the park.  I tried just setting a long exposure to burn in the small specs of light, but was not satisfied with the results.

Using the Nikon D50 and the Nikkor 24mm f/2.8 lens, this is the result that I came up with.

Kind of dull and not really distinguishable as anything, really.  Along with my camera gear, I always take with me a bag with some other goodies.  Pocket knife, tape, first aid kit and flashlights.  I started off light painting with a small AA cell mag light.  While it did the job of illuminating the parts of the scene that I wanted, the "feel" was all wrong.

Then I remembered a gift my wife had gotten me for my birthday.  I'm a big fan of Doctor Who, the old ones(Tom Baker is my favorite from the "original" series) as well as the rebooted series that started back in 2005(David Tennent ROCKS!!  :).  Digressing, my wife found a flashlight/torch replica of the Doctor's sonic screwdriver.  It is a bluish LED.

When I used that to paint light, it made the scene look more like I wanted it to - a colder, moonlit night.  It also made the dots of light from the fireflies stand out.  Here is the final image that went with the Visual Ohio firefly article.

Exposure Info
30 sec @ f/4 ISO 1600 in Manual Exposure Mode

So - light painting - what is it, really?   As a minimalist definition, is is using a constant light source in your exposure to supplement the already existing ambient.  In this case, I turned the flashlight on and then started running the beam of light emitting from it along the path and the sides of the trees on the edge of the path.

This is an interesting technique to explore.  You can use just about any constant light source, such as flash lights, lamps, laser pointers, halogen work lights.  So next time you want to try something different, light painting might be a technique you want to give a go.

Clay Blackmore "How To Photograph Everyone" Tour

Hello all.   I just recently found out about Clay Blackmore.  He is a very talented photographer and teacher.
Check out his site and see the quality for yourself.  Lots of good images there!!

Here is some information about the "How To Photograph Everyone" Tour:

Clay Blackmore’s 30-city “How To Photograph Everyone” Tour kicked off last Monday evening, in San Diego and runs through June 11, visiting cities throughout the US.

Don’t settle for snapshots and flash-on-camera images - you need to know the techniques to set yourself apart from the crowd. HTPE brings portrait photography back to where it started, with all the tools you need to make timeless photographs that sell.

Clay will teach the following principles during the seminar:

Posing, Lighting, Lifting, and Refining - A live demonstration will take place with all participants looking through Clay’s lens as he creates elegant portraits on the stage.

Clay’s Flow Posing - Clay will demonstrate live how to create 10 portraits of a couple in five minutes.

“How to Photograph Everyone” - A descriptive analysis of how to make portraits of children, mother and child, maternity, men, women, high school seniors, business portraits, and small-to-medium groups.

The Perfect Portfolio - How to create an awe-inspiring portfolio that is sure to entice potential customers.

Weddings: Catering to the Modern Bride - Learn how to take photos that sell, and get your client to fall in love with the pictures before they even leave the wedding.

Big Portraits with Small Lights - Take cover! We’ll focus on working with scrims, reflectors, and window light to produce photographs that rival studio portraiture.

Post Production – Clay will show you several of his secret weapons for portrait retouching and enhancement.

DSLR Filmmaking Opportunities - Learn how Clay is bundling his photography with this new technology to increase his bottom line.

Don’t Just Survive—Learn to Thrive - Learn how to control the sale and increase profits.

Register using our Discount and Save!
Registration is $69, but you can save $10 and pre-register for only $59 with promo code CLUB10. Click here to register for a program near you!.

Clay Blackmore, one of the most passionate professional photographers working today, is a true innovator in the world of portraiture and wedding photography.  One of only a few Canon Explorers of Light, Blackmore’s style blends the beauty and timelessness of classical portraiture with the spontaneity and appeal of photojournalism. His credentials were developed during his 25-year association with the legendary Monte Zucker as assistant, business partner, and co-educator. A celebrity and society favorite, Clay’s clients have included such luminaries as Larry King, Forrest Whitaker, Jenna Elfman, and Maria Sharapova. Renowned for his ability to photograph groups and cover events, Clay is consistently hired by corporate entities as diverse as the PGA and USGA and is a popular request for political inaugural balls.  In Clay’s groundbreaking work on Extraordinary Women:  Fantasies Revealed Clay photographically chronicles the dreams of 58 elite women, capturing intimate and energetic portraits of Madeline Albright, Dena Merrill, Joan Rivers, Cokie Roberts, and Dominique Dawes among others.  Blackmore is an active and contributing member of the elite Cameracraftsmen of America.

For more details about the upcoming How to Photograph Everyone Tour, visit: http://www.photographeveryone.com/

The Obsession With EXIF Data and Why It Doesn't Matter As Much As You Think.

I traverse quite a few online forums and have seen my share of questions.  One universal thing I see constantly are questions like, "what settings should I use for this specific situation", or "could you please tell me the aperture and shutter speed you used for this shot".

I do understand the importance of knowing the EXIF data...but I also know that it appears that we can put way too much importance on it.
When asked these questions, the first thing that I want to respond with is, "it depends".  On what?  A lot of things.

I think starting out, doing basic homework and some book learning is important.  Understand the relationship of your three components of exposure - ISO, shutter speed and aperture.  Once you have that under your belt, then we need to look at real world applications.   When I first started out, I went out and took test shots using different apertures at different focal lengths.  This helped me understand that relationship. 



I did the same for shutter speeds. I once spent a few hours sitting by a busy road on a bench and just took pictures of passing cars at differently shutters speeds.  This helped my understand just at what speeds I could expect blur and which I could expect to start seeing some motion stopping goodness.  Same with ISO.....and so on.

EXIF data is great for analyzing results after the image is made. 

I like to treat each shot as a problem to be solved and I use the tools and understanding of how to use them as a creative outlet. 

I get the image I want in my head, then I look at my tools and decide how I can best utilize them to get what I want.
Creating an image is a subjective thing.

Like music, some people love the free form and emotion filled sets that live jazz music offers, while others prefer the tightly organized and orchestrated form of classical music.  Then you have everything in between.

I'm not saying that you have to like everything.  We just need to come to the realization that everyone has a different taste, aesthetic.  We may not agree, but we need to respect their right to differ from the our perceived norms.  I'm not a huge fan of some of Robert Maplethorpe's work.  However, I do respect the fact that he has the right to express his vision as he sees it.

Sometimes, we crash headlong into a conflict between what a client wants and what our vision for the shot might be.   If you have an understanding client and time/money allows - you can sometimes satisfy your vision and their vision at the same time.  Other times, you must acquiesce to what the client is asking for.

Important things to remember:

1)  Get an idea or vision of what you want to do in your head, write it out, sketch it, whatever it takes to have a bit of game plan laid out.  Even if the ideas are coming from the client or art director - sketching it out will help you ensure that you are all on the same page.

2)  Look at the assets you have at your disposal to make the vision a reality.  I hope Don has the "list your assets" assignment in this next Project 52 - 2012 session.  This was a real eye opener for me.   I was able to come up with things I did not realize were tangible assets.

3)  What settings will get you the look you need?  Are you shooting ambient only exposure or are you introducing speed lights or studio units into the mix?  Think about the type of depth of field you are looking for or if you need to freeze the action.  Can you get where you need to be with the current lighting situation or do you need to tweak your setup?

What you've done in the past is a great starting point, but don't rely on the settings from a previous shot to yield the same results again.  Most likely you'll have to tweak it at a minimum.

You'll see over time that EXIF data doesn't really come into the conversation.  It doesn't matter as much as you think.  Understand the numbers and their relationships, bend them to your will/vision and make it happen.  Use them as a nice place for an educated starting point.

I'm a shooter that learned by "feel".  Never was taught to use a stand alone light meter.  I've always just used the spot metering on my Nikon's.  Not that this type of approach is for everyone - it all depends on how you best work.

Happy Holidays and Welcome to 2012!!

Hello all!!

Just wanted to take the time to thank all the regular readers of the blog.  I also want to welcome the newcomers and invite you to read through the past blogs for some great articles.

What do we have in store for the new year?  A bunch more "how I got the shot" posts for sure and we plan on pushing the boundaries and limits of our image making processes.   More choices, more creativity is good for everyone!

Looking for some that great family portrait?

Shamblin Family Portrait

A special, intimate image for that special someone?

Intimate Portrait

Couples Portrait
©Best Light Photographic LLC

Senior Portraits?

Before The Prom

Chris Cochran - Senior 2012

Brittany - Senior Portrait

Maybe you are a business in the community and are looking for something that will pop your ads off the page/screen or a style that will let everyone know that is YOU even without having to read a word.  We can and want to help you with that!!

Armando Javier Product Shoot
Image ©Best Light Photographic LLC
Products © Armando Javier

So, take some time, reflect on what it is you want to visually accomplish this year and then give us a call and let us know!  It would be our pleasure to help you make your visions a reality.

We are also looking to expand out and offer some educational classes.  Got a new camera or just want to better understand what it is that your camera can do for you?  Want to control your scene through exposure, lighting, concept?

We can help you with all of that and then some.   Private, one on one sessions will be offered as well as group classes and workshops.  Call us anytime to discuss the one-on-one sessions and stay on the look out for the class/workshop announcements.

From all of us here at Best Light Photographic:

Good luck in the new year, best wishes for success in all your ventures and we look forward to working with you in whatever ventures our paths happen to cross!!

Andrew

Fuji X10 - My Take On This Camera

A lot of people have opinions on camera gear....OK....everyone has an opinion on camera gear.  If you want to hear mine of this camera, then feel free to read on and check it out.

Before we start - some ground rules.  I'm a photographer, not a camera engineer.  I'm coming about this review and impression from a standpoint of a user of the gear.  I'm just going to explain what my understanding is and my impressions thus far with the camera.  I could be wrong, off base, or dead on accurate.
I've got no problems with any comments that you might want to leave correcting me or adding some critical information that I might have left out.  All I ask is that you be respectful in your correspondence.

First - Why would a professional photographer want a small camera?
Well, I can't speak for all photographers, but I will say this.  There are times when I don't need a pro kit, don't want to carry a pro kit around with me.  it really is that simple.   I wanted a smaller camera with a high image quality, good responsiveness and easy to manipulate controls.

I believe the Fuji X10 gives me those things.

Second - Why the Fuji X10 over the Fuji X100?
There are quite a few things that make the Fuji X100 a superior camera over the X10.  The X100 has a larger APS-C size sensor(same size as in a lot of intro and mid level DSLRs), a fast fixed prime lens and a slightly larger body.
So again, why the X10?
If we look at all the other things...the X10 is the little brother of the X100.  It's layout is pretty close, its functionality is pretty close...so what are the changes?  The X10 has a 35mm equivalent zoom range of 28-112mm with an f/2.0 to f/2.8 maximum aperture.
My other thought is that with the X10 - Fuji had time to figure out all the quirks of the X100 and fix them with the X10.  For the most part, I think that Fuji has done just that.

So what did I get for my money?  I got a very portable, take anywhere, anytime camera.  It is quite a capable little machine.
The dynamic range is excellent, and there are plenty of modes that can help to extend that.  It can do in camera panoramas.  Special modes for low light, enhanced depth of field.  While it is great for those who do not want any kind of special help - just point and shoot - it can do that too.  So people like my wife, who just wants to press the shutter and make the image are fine with it too.  For me, I like the fact that it has aperture, shutter and manual modes and a standard hot shoe.  Oh...and it has a leaf shutter so syncing flash all the way through the shutter range is possible!!  More on all this later and why it is an exciting thing for a photographer.

The short comings - not that many to be honest.
This is what I found so far and none are deal breakers to be sure.
Flash exposure compensation - I cannot seem to find a way to make the internal flash exposure compensation to be more or less that 2/3.  Not horrible, but sometimes I like to travel light and I have a speed light with an optical slave on it.  I want the camera flash to not be part of the exposure and having  it as low powered as possible is a plus.  We'd just have to be careful of the camera to subject distance in that regard.
Menu System - OK - I'm just really used to the Nikon DSLR menus and while the Fuji menus are not
that for sure - they just take a little getting used to.
The User Manual - While pretty bad, not one of the worst I've seen.  I've worked in the IT industry for 25 years, so I've seen my share of bad instruction manuals.  Everything you need to know is in there, it just takes some interpretation.  I recommend reading it and then re-reading it - then take it with you for some time in order to get a good feeling for all the options.  This camera has a ton!

That is about it for the time being.  If I find any other quirks of note I'll make sure to update them here.

External Controls
The camera takes a lot of its cues from the old film rangefinder cameras.  While it does not have an all manual control scheme through dials(like the X100)....it has a system similar to a DSLR.  Set the mode you want on the dial and use the thumb wheel or the spin wheel to change the options you want.  Coming from a DSLR - this is great because the controls are very familiar.

On the top you'll find an exposure compensation dial, a mode command dial, a function(Fn) button, shutter release.
One the front is a switch for the focus control - AF-S, AF-C and MF(manual).
The great thing about the dials is that they are all very tight and I have had no problems with them at all.  I've yet to accidentally move a dial.
The rear has your thumb wheel, AEL/AFL button, your combo pad with drive mode/delete, macro focus mode, flash mode and self timer on it.  On the outside of that is a wheel you can spin to change options as well.  A note on the thumb wheel.  It is clickable and among other things, it is used in manual mode to change between switching the aperture and shutter value.  There is a back/display button, a RAW button for switching to RAW shooting mode or to process RAW images into JPG while in image review mode.
Rounding out the button controls are the play button, AE(doubles as zoom in), AF(doubles as zoom out) and WB buttons.

For me - I'll spend 99% of my time with these controls and not in the menus.  See?  Another reason why the menu system doesn't bother me - I'm not really going to need it much!!

The biggest innovation is the power button and zoom.  Instead of having a conventional power button, twisting the manual zoom ring to the 28mm setting causes the camera to power on.  Ok - a lot to take in with that one sentence.  Yes - the power switch is on the lens zoom ring and yes, it is a manual zoom - not a powered zoom.  Yet another comfort for a DSLR shooter.  Why do I like a manual zoom ring?  It gives me minute control over the zoom range, I can zoom as fast or as slow as I want.  Unlike a powered zoom, where they often step through different zoom ranges with no in between or they zoom at inconsistent speeds depending on how long you hold the zoom button.
Another advantage is that you do not have to wait for the zoom to move in and out when powering hte camera on or off.

OK -  So the boring part is over.  Now lets get into the good stuff - things that I'm sure you really care about - performance!!!  How does this thing rock!?  Lets find out.

For comparison, I'll post some stills from the different modes and possibly pit the X10 against my old war horse - the Nikon D50.  I bought this camera back in 2005 and it is still going strong!  While I do not expect the X10 to destroy the D50 - I do want to give you a sense of how close these cameras are(or not) in image quality.
I know that a DSLR is king on control and the X10 is not in the same league as far as that goes.  Just make sure we have this in our minds as we move on.

The A/P/M/S modes work as you'd expect them to, so no need to really go into them.    I shoot mainly in aperture priority mode or manual mode for my normal shooting needs - and those work as I need them too.

C1/C2 - on the dial these are for setting up custom shooting modes.  To use them is a little different.  Firs - set the camera to the mode you want to emulate.  For example, if you want the mode to be in aperture priority as it's base shooting mode - turn the command dial there first.  Then - setup all the other options you want.  As the last step - go into the menu system and find the option on menu 4 called CUSTOM SET.  This is the custom spot on the dial that you want those options you just set placed under.  Once saved all you need do is turn the dial to C1 or C2 to use those options.  You can even change some of the shooting options while in C1 or C2 - but they are not permanent unless you re-save the settings again.  Kind of nice if you ask me.  A little weird to use at first - but a nice option none the less.

EXR Mode
This mode is like "magic".  It runs through a multitude of different options to get the best image quality it can.
EXR Auto - this is like a full auto mode on steroids.  It will automatically determine which of the three EXR modes below to use.
Resolution Priority - it determines the best options to use to get the highest image quality possible - the most detail.
High ISO/Low Noise - this mode aggressively goes after reducing noise in high ISO/low light situations.
D-Range Priority - Tries to maximize the dynamic range of a scene - useful for when you have a scene with highly contrasting ranges.
Here are some examples of the benefit of the EXR mode D-Range:

EXR D-Range Mode
Usually in a shot like this the sky would have been washed out in order to keep the barn and grass properly exposed.
Here, you can see the sky has a nice blue tone to it.
1/450th @ f/4.5   ISO 100

It also works in B&W Film Simulation mode as well.
1/420th @ f/5  ISO 100 

Advanced Mode
Panorama - the camera will automatically stitch a series of images together to create a vertical or horizontal panorama.  I've used this a bit and it does work quite well.  If shooting at 28mm, there can be noticeable barrel distortion.  I've also noticed some ghosting, especially when you have something in the scene that is moving.  In the example below - look at the wind mill to the right - the blades are a bit off.  Nothing that could not be fixed with a little post processing love.

120 degree in camera stitched panorama

Pro Low Light Mode
B&W Conversion Lightroom 3.6
1/25 @ f/2.2   ISO 3200

Pro Low Light - the X10 takes a series of images(up to 4) to get the best image possible in a low light situation.  I've experimented with this and it does work quite well.

Pro Focus - again, we have a multi image situation.  The camera takes a successive series of images to get the main subject in focus and the background as nice of a bokeh as possible.  Given the small size of the image sensor it is difficult to get a shallow depth of field.  This option is there to help you.

Special Mode
This option is where all the "scene" modes exist.  If you need a quick setup, like using scene modes, then this option is the place for you.  There are a ton of options to choose from.

Full Auto
The Ron Popiel Rotisserie mode of the camera - the "set it and forget it" mode.  I use this mode if I want to hand the camera to someone and have them take a picture of me.

Video Mode
You've got quite a bit of option here.

Full HD(1920p) at 30fps
Regular HD(1080p) at 30fps
640 mode at 30fps

start of high speed video capture modes
640 mode at 70fps
320 mode at 120fps
320 mode at 200fps

Not sure what I could do with the lower res movies(need to think about it) but I did mess about with them and it is a pretty neat effect.  I was never getting this camera for the video modes, so anything that it has is a bonus.
The camera does allow for zooming during movie recording and the auto focus does work.  It is a tad bit slow to re-acquire after changing zoom, but it does stick with it.
The sound is recorded in stereo from the two mics located on the front of the camera.

Other Performance Items of Note
Auto Focus - for a contrast detection system - it is quite fast and accurate.  Especially when you have a lot of light.  I did have some failures to focus with low contrast or low light scenes - more than I would have had with a DSLR - but nothing that didn't get a lock the second time I tried with a little creative recomposition.
Manual Focus - I don't see myself using this much, but the rear wheel is used to step through the manual focus range.  It is a bit slow - but there is a good work around.  The AEL/AFL will auto focus even in manual mode.  It will get you close and you can then use the manual wheel to get you where you want to be.
Shutter Lag - pretty dag gone fast from what I can tell.  Not quite a DSLR, but probably the fastest I've seen in a "point and shoot" type body.  For most people this should be a non issue.
Continuous Shooting - can shoot up to 10 frames per second bursts.
Battery - Uses the Fuji NP-50.  A little anemic when compared to a DSLR battery, but the NP-50 batteries are common and can be found inexpensively on eBay and Amazon.  I bought up 2 extras, just to be on the safe side.
Memory Card - I did not want to take any chances and I opted to go with a class 10 SD card.  I wanted to  make sure that there were no chances of a performance issue like has been reported on the X100.  Fuji states that the camera should work just fine with SD cards rated as class 6 or above.

Off Camera Flash
I mentioned previously about the benefit of having a standard hot shoe.  The excitement it brings to me is the ability to use a radio trigger to control off camera flash units.
Because the hot shoe sits flush with the camera body, my trusted and well tested set of Radio Popper triggers would not fit on the hot shoe without a little help.  The antenna on the Radio Popper is on the bottom of the unit and exends below teh bottom of the plate on the hot shoe connector.  After a little web site research, I turned to the great folks at Flash Zebra for a hot shoe adapter.  It is a small cube that sits on the standard hot shoe and provides for a cable connection for other flashes - but the benefit for use, here is....it has a pass through that will allow for another flash to be attached to the top of the cube.  Now you can connect the Radio Popper and all is good.
With speed lights such as the SB-26, I was able to get consistent flash exposures with the camera in manual mode and the shutter speed up to 1/2500th.  Beyond that the flash duration just was not fast enough.  I do plan on running some tests with the Alien Bee B400 unit I have.

Of these two images above - can you tell which one was taken with the Fuji X10 and which was taken with a Nikon D50 with a Tamron 90mm f/2.8???  Lighting setup was the same for both and both were triggered with the same Radio Popper units.  By the way, the X10 shot is the one on the left, the D50 is the one on the right.

How far can we push the images from the Fuji X10?
This first shot was taken in aperture priority mode with all other settings at standard.

This next shot is with a little help from some Lightroom adjustments.

Pretty significant difference and the jpg files from the X10 seem to hold up pretty good to some manipulation.

Some other images:

aperture priority mode - pretty good dynamic range here

SOOC black and white with a 1:1 crop ratio.  Again, good dynamic range through out the scene.

1:1 crop ratio - super macro mode

These are all the images I have at the moment.  I will definitely be doing a portrait shoot with this camera in the future and will post those images later....maybe even do a head to head shoot with the Nikon D300 just for fun.