Underexposed

Multimedia tools are nothing new to Corel, a company now responsible for titles in the Ulead family and Video Studio Pro. But the particular combination of features in Corel Digital Studio 2010 (Windows) is something new. Or rather, a it's a fresh take on Corel's existing technology.

The software suite marries editing and project creation tools for photos and videos, giving the application interfaces a tinted look and rounded corners that share the philosophy of Apple's iPhoto and iMovie. Corel's goal was to provide an entry-level media manipulation package for home users that is also appealing to look at and natural to get around, and the company has largely succeeded.

Corel Digital Studio 2010 is comprised of main four applications: the photo studio, video studio, DVD burning app, and WinDVD, Corel's video player. (There's also a desktop gadget with its shortcut buttons to each of the four programs.) With them you can open media from just about anywhere, edit videos and photos, and fashion a whole lot of fun photo and video projects. The video studio, known formally as Corel VideoStudio 2010, has a built-in movie maker that looks good and is approachable for novices looking to get their feet wet. There are a few templates (but a few more wouldn't hurt), for automatically creating videos out of video clips or photos, or both of them together--you'll have an opportunity to tweak transitions and other details later.

The photo app harbors a creation workshop for collages, cards, calendars, and photo books, all of which you can print from your home computer or order from Corel online, if you'd like to turn your digital media into physical form. As with the movie maker, there are templates for getting started (the same ones, in fact.) The limited templates may get old pretty soon.

Corel Digital Studio 2010--screenshots

The other options for releasing photos and videos from your desktop include burning them to disk (with Corel DVD Factory 2010), e-mailing them, copying them to a number of devices, including the iPhone and Sony PSP, and uploading them automatically to Flickr, Facebook, and YouTube. We had some trouble uploading to Flickr in our initial tests, but according to Corel, the bug we encountered is unusual.

Corel Digital Studio has a few other rough spots. We've mentioned the premade project templates, which could be more numerous. We feel the same way about the number of effects in the photo editor--there are a meager four. The software could run a little faster, and there are a few tweaks we'd make to some of the tools; for instance, if you could adjust aspects like saturation and brightness by typing a value into a blank field in addition to the current method, where you set it with a slider bar.

Each application's tool set in Corel Digital Studio 2010 is much beefier than your basic freeware apps like Google's photo manager, Picasa, and Microsoft's recent Windows Live Movie Maker. Compare the features with other multimedia suites in its price class, and the $99.99 studio falls in the middle. Part of that is intentional. By slimming down the feature offerings, casual consumers won't get lost in a morass of menus. Make the product too simple, though, and nobody will buy it. Corel has struck a fair compromise that will give the company's home user audience plenty to do to, both in terms of editing media and in terms of ultimately sharing that media with others.

(Credit: Corel)

In the end, Corel's new multimedia studio doesn't introduce any groundbreaking capabilities to the field. Comparable software suites, like Roxio Creator 2010 and Apple's iMovie/iPhoto combo, have the sharing features, automated movie makers, photo book and calendar creators, and then some. Roxio Creator 2010 also has several more audio tools, extra copying options (like to TiVo), and express burning you can jump-start from the desktop or even automatically from the DVD drive. iPhoto and iMovie include sundries such as detecting recurring faces in photos, and more advanced video editing options that take the audio track into account.

At this point, it may seem that we're a lot further away from proclaiming that Corel has largely succeeded in its mission to create a solid, user-friendly multimedia app than we were at the beginning of this review. However, we're still of that original opinion. Those folks seeking more advanced tools, like that separate audio track and finer tuning, should seek a different media suite that's more consciously geared to enthusiasts or professionals. What Corel Digital Studio 2010 offers is a navigable, eye-pleasing design for people who want one place to go that gives them beyond-the-basics tools without opening too many cans of worms. (The package is an especially fair price if you were planning to buy DVD-playing software for your computer anyway--don't forget that it includes WinDVD 2010.)

There's much more to explore in Corel's quadra-app suite, and some system requirements that you should be aware of before you download even the trial. For details, tune into the First Look video above, slide on over to the photo gallery, or read our hands-on review. If you'd like to test it for yourself, Corel Digital Studio 2010 is free-to-try for 30 days.

Adobe Systems, taking the same course with its forthcoming Creative Suite applications, will offer the next Mac OS X version of Photoshop Lightroom only on Intel-based machines.

Apple has chosen to discontinue support for Macs using PowerPC processors beginning with its next operating system, version 10.6 aka Snow Leopard, which is due to arrive in coming weeks. Adobe said last week that its next Creative Suite will follow suit. The CS family includes programs such as Photoshop, Illustrator, Premiere, DreamWeaver, and Flash Professional.

Lightroom, which is for editing and cataloging photos, isn't part of the suite, but it's headed the same route.

"The next full version update of Lightroom will not run on PowerPC-based Mac computers," Lightroom product manager Tom Hogarty said in a blog post last week. "Lightroom 2 updates will continue to support PowerPC."

Meanwhile, Photoshop Principal Product Manager John Nack, while fond of PowerPC, took a pragmatic tone on his blog: "By the time the next version of the (Creative) Suite ships, the very youngest PPC-based Macs will be roughly four years old. They're still great systems, but if you haven't upgraded your workstation in four years, you're probably not in a rush to upgrade your software, either."

I use and enjoy Flickr. But with each passing month it worries me more that when I visit a photo page on the Yahoo photo-sharing site, it looks essentially identical to when I first started using it four years ago.

Flickr has typical online photo site abilities to upload, share, and print photos. What sets it apart, though, are features that make Flickr a community: discussions in comments below photos, groups for like-minded photographers to share their work, and social networking attributes that let people stay on top of their contacts' doings.

Flickr revamped members' home pages starting last September, drawing more attention to recent activity such as people who added you as a contact or who commented on your photos. The change was smart: Flickr was a socially wired site before social networking became all the rage, and photography is a great way for people to stay engaged with their friends and relations.

But now it's time for the rest of the upgrade. Here's what pains me most:

• The photo page. With Flickr, you can have large photos or you can have comments and navigation, but you can't have both. Photos are best viewed larger than Flickr's default 500-pixels width. Clicking "all sizes" to see lavishly large views sends you down browser dead end: you'll have to click the back button when it's time to add comments or navigate to the next photo.

• The photostream page. Flickr organizes your photos as one giant filmstrip called the photostream. But viewing somebody's most recent shots on the photostream page again forces you back into the small-monitor past. The default view for me shows 18 small photos, 10 sets, and an ocean of white space even on my laptop.

• The profile page. I rarely look at people's profile pages unless I'm trying to contact them or figure out who's behind a cryptic username. But there should be a way to make the profile page the anchor of a Flickr user's online identity, the public face presented to Flickr users. People judge others by their photostreams, which in my case these days is more about family photos than works of art or moving photojournalism, so I'd like to show them an automatically updated page of my top picks instead.

Fortunately, Flickr is working on several improvements detailed below by product strategy chief Matthew Rothenberg. But he kept mum about timing: "We're planning to be progressively rolling out enhancements over time," he said.

Show 'em how it's done
"Innovation happens elsewhere" is a worn-out Silicon Valley business cliche, but there's some truth to it. It's especially appropriate for Flickr, because the site lets others built atop it using Flickr's API, or application programming interface. Tasks such as flipping through a person's photos, adding comments, looking up interesting shots, and uploading photos all can be done without having to touch Flickr directly.

The Flickroom beta software presents a new face on Yahoo's photo-sharing site.

(Credit: Screenshot by Stephen Shankland/CNET)

The power of the Flickr API was shown most clearly to me a year and a half ago, when I tried Photophlow, a site that makes Flickr into a photo-centric chat room. Photophlow lets people collectively breeze through photos, marking photos as favorites and leaving comments as they go

Now there's a new kid in town with some other ideas, a beta application called Flickroom. It's built atop Adobe Systems' AIR foundation and presents a fashionably dark background for viewing pictures. There are plenty of icons and control panels to traverse photos, search photos, join a chat room, and see what your contacts are up to.

Flickroom has some bugs and idiosyncrasies, and fundamentally it's not shifting any Flickr paradigms beyond the user interface. But it does manage to illustrate what can be done with Flickr's raw material. I especially liked the flip through the large sizes of a user's photos.

Another good example of what can be done with Flickr's API is Darckr, which shows what Flickr (not entirely badly) believes to be your most interesting shots set off against a black background. I'm not going to be showing my photostream as my portfolio, but my interesting shots on Darckr aren't so mundane.

There are plenty more. Photoshop.com from Adobe, for example, not only gives a new interface to Flickr but lets you edit your photos, too.

Google's Picasa Web Albums is set up more for showing family pictures than for spawning a community of macro or Holga photography, but it can teach Flickr a thing or two. Google boasted in June of a revamp that makes photos load much faster, even at full-screen size, and it wasn't idle boasting. And even if Picasa photos are framed by more clutter than Flickr's photos, at least the photos can be viewed larger.

Photoshop.com offers online image editing and sharing.

(Credit: Screenshot by Stephen Shankland/CNET)

The good news
Flickr may not be moving fast enough for me, but happily, it's not standing still, either.

"The core photo-sharing experience on Flickr is the area we want to spend most of our time on now," Rothenberg said. He pointed toward "the photo page in particular, the photostream, photos from your contacts--all aspects of site core to the photo-sharing mission of Flickr but that haven't really been brought in line."

Also, probably not just to throw me a bone because I'm a fan of location tags in photos, he added, "Even geotagging, (we'd like) to bring it more into the core experience."

He couldn't comment on my specific gripes about wasted screen real estate, though he did mount a bit defense of white space. However, it's clear Flickr understands the issue, because he did take pains to mention Flickr's new search tool launched Tuesday. It can take advantage of available screen size.

Photophlow, though its development is dormant for now, can make it fun for groups to browse and comment on Flickr pictures.

(Credit: Screenshot by Stephen Shankland/CNET)

Flickr's absolute priority is a page on which the photo looks good, but the site must also balance that with social and navigational features. "There's a large amount of information we store and display and allow people to interact with--sizes, licensing, location information, comments, favoriting," he said. "We want to make all those options as easy and efficient as possible."

Flickr also wants to improve navigation and organization, two areas that I believe the computer industry always will face. Rothenberg

Lowered expectations
Rothenberg lowered my hopes regarding a handful of other areas I could see improved.

• Threaded comments: I find it hard to traverse longer discussions, in which people sometimes try to address each other with the @username convention, but Rothenberg pointed out fairly that most photos don't have such complicated discussions. "For most people it's question of whether getting any comments on the photo," he said. "We want to make that social aspect of photos matter to members more than it does today."

• Beefed-up Flickrmail: Flickr isn't designed to replace Yahoo Mail or Gmail, he said, but that doesn't mean e-mail and photos don't go together (as Yahoo's acquisition of Xoopit indicates). Rothenberg hinted at future integration: "For a large percentage of people on the Internet, the way they share photos is through e-mail. For Flickr to be the most useful site for our members, it needs to work well with all the ways they share photos."

• Face recognition: A Google-like approach to face recognition doesn't look likely, either. Facebook's social approach to getting people identified in photos is more in keeping with Flickr's style than Google's computer-based method. "We try to optimize toward social interactions rather than algorithms," he said.

• Longer video: Flickr is happy with its 90-second video limit, which was set not because of any hardware limits at Yahoo but because of an aesthetic liking for what Rothenberg terms "moving photos."

• Tags drawn from metadata: I'd love to sift images by camera, lens, shutter speed, and the like, which is information Flickr extracts from data cameras automatically embed in most photos. That's a technical matter Flickr has pondered, but "we don't have any immediate plans," Rothenberg said. "In general we want to make it easier to find the photos most important to you on Flickr. There are other areas we can improve on more immediately."

None of these are really grating issues for me, though, and I can see Rothenberg's point of view. So I'll willingly cut Flickr slack here.

As for the other fixes, I'll console myself that Rothenberg and I see eye to eye when it comes to the site's vision and priority: "Flickr needs to be the best place to be a photo if you're a photo."

Photoshop.com offers online image editing and sharing.

(Credit: Screenshot by Stephen Shankland/CNET)

Adobe Systems is discontinuing Photoshop Album Starter Edition, the lowest rung on its ladder of image-editing software products, and the company is nudging its users toward the online Photoshop.com site.

Adobe launched Photoshop Album Starter Edition in 2003 as a free, bare-bones image cataloging and editing package. Adobe discontinued the line, though, and support for it ended June 30.

So what's the alternative? In a customer note, Adobe puts its online service front and center.

"As part of our commitment to providing customers with a free photo-editing solution, we have created Photoshop.com, an exciting new online service that lets you upload, organize, edit, store (up to 2GB free), and share your photos," the note said. Afterward is a list of steps for exporting photos from the software to the Web site.

The move reflects the growing importance of Web-based applications even for software powerhouses such as Adobe. Web applications, even when using relatively sophisticated technology such as Adobe's Flash, are typically primitive compared to what can run on a computer, but they offer advantages in sharing, maintenance, and remote access from multiple computers and mobile devices. And of course the Web is gradually growing more sophisticated as a foundation for applications.

It should be noted that Adobe's note also encourages customers to "consider an upgrade to Adobe Photoshop Elements 7," the consumer-oriented software that right now costs about $37 including a $20 rebate on Amazon. Adobe also sells the combination of Photoshop Elements 7 and a one-year Photoshop.com Plus membership for $90. The Plus membership offers subscribers up to 20GB of storage, tutorials, album templates, and "creativity-inspiring ideas."

The new SDXC specification for faster, higher-capacity flash cards emerged in January, and Toshiba now promises the cards themselves will begin arriving about a year afterward.

Toshiba plans to sell its first SDXC cards in the spring of 2010, with a starting capacity of 64GB.

(Credit: Toshiba)

Toshiba said Monday it expects to be the first to bring SDXC cards to market, with testing samples of a 64GB version shipping in November and the real thing shipping in the spring of 2010. Those dates will be key moments in what doubtless will be a gradual transition away from the prevailing SDHC standard.

SDXC backers promise higher capacities and data transfer speeds for SDXC, which is important for devices such as video cameras that can produce lots of data at a sustained rate. But initially, a new generation of Toshiba's SDHC line will match the SDXC's maximum 60MBps data-reading speed, and maximum 35MBps data-writing speed, the company announced, using a new high-speed interface called UHS104.

The fast new SDHC cards, though, will only be available in 16GB and 32GB models. SDHC tops out at 32GB, but the SDXC specification extends to 2TB. In addition, through use of Microsoft's exFAT files system on SDXC cards, individual files can exceed 4GB, which is important for longer videos.

Capacity is undeniably important when it comes to carrying your video camera around for extended periods of time. But do you really need all that transfer speed? Leaving aside the confusing muddle of minimum vs. maximum transfer speeds and certification, even high-definition video only pushes the envelope so hard.

For example, Canon's high-end 5D Mark II SLR, which can record 1080p video at 30 frames per second, requires only a relatively modest 8MBps write speed for its CompactFlash card; high-end CompactFlash today can handle 45MBps.

Of course, there's also the matter of transferring photos and videos to computers, a tedious task at best that benefits from maximum speed. But that's often constrained, though, by the card reader and its interface to the computer.

No doubt those pipes will widen as time marches on, with SDXC and higher-speed SDHC helping to nudge things along on one end and higher-speed interfaces such as USB 3.0 and Firewire S1600 and S3200 on the other end. The SDXC specification calls for 104MBps speeds in 2009 and eventual speeds of 300MBps.

One interesting issue is whether SDXC will displace CompactFlash in high-end SLRs. SDHC is used in lower-end SLRs now, displacing CompactFlash, and is making its way into higher-end models including Nikon's D300s and Canon's 1D Mark III alongside CompactFlash.

SD and its successors have relegated rivals such as xD card from FujiFilm and Olympus and Memory Stick from Sony to product niches, new MacBook Pro laptops from Apple have built-in SD card slots, and Canon USA technical adviser Chuck Westfall had encouraging words for SDXC.

So SD has plenty of momentum, and the SDXC generation certainly has the potential to continue to outpace CompactFlash in price while also becoming competitive in capacity and data transfer speeds.

The diminutive size of SD compared to CompactFlash is an asset when trying to squeeze a slot into a computer or camera. But some serious and professional photographers have griped that the small cards are hard to handle and easy to lose.

Flickr lets you post image links to Twitter.

(Credit: Screenshot by Stephen Shankland/CNET)

Yahoo has released a feature that lets people post Flickr photos to their Twitter accounts.

The Twitter2Flickr feature requires that you enable Flickr as an approved application that can tweet under your username.

Then, when you click the "blog this" link above a photo at Flickr, you're presented with the option to twitter it. The tweet will come with a "flic.kr" shortened URL.

Flickr has a large number of users, and its use is amplified by the fact that other sites can make use of Flickr data through an API (application programming interface). The Twitter integration is a modest example of Yahoo's attempt to make its sites less of a walled garden by working better with other Web properties.

A Twitter search for Flickr photographs indicates that a lot of people are making use of the integration, which had been in beta testing since earlier in June.

The Olympus E-P1 with its small 17mm lens attached.

(Credit: Olympus)

The Olympus E-P1 camera, a hybrid designed to combine advantages of both compact cameras and SLRs, is a welcome arrival in a digital camera market struggling to find new directions.

The small and light camera that debuted Tuesday features interchangeable lenses and relatively large sensor that endow SLRs with flexibility and higher image quality, but it's also got a small body of a compact camera. It has the potential to appeal to SLR owners who want something smaller and to compact camera owners who want something better, if Olympus can convince people to surmount a significant obstacle, price.

Like most hybrids--gaming laptops, for example, or bicycles with aspects of both road bikes and mountain bikes--the E-P1 sacrifices specialization for versatility. But the digital camera market is saturated, and the E-P1 is a promising member of a newer camera breed.

There are a handful of competitors with similar aspirations. Canon's G10, the newest in its G series of high-end compact cameras, is one example. Nikon's GPS-enabled P6000 is another, though, like the G10, it doesn't have an interchangeable lens. And Panasonic's G1 and GH1, which employ the same Micro Four Thirds lens and sensor standard as the E-P1, are probably closest.

The biggest knock against these cameras is price. Their relatively large sensors--especially those in the Micro Four Thirds cameras--cost a lot to manufacture, and fast electronics and high complexity just make things worse. Few people are willing to spend more than $300 on a camera, much less the hybrid cameras.

Brace yourself for some sticker shock. ... Read more

A new tremor on Thursday traversed a photography world already shaken up by the arrival of digital technology as Phase One, a Copenhagen-based company that caters to professional photographers, announced a plan to acquire some high-end photography assets from Eastman Kodak.

To nobody's surprise, Kodak wound down its 35mm Kodachrome film product on Monday. In the rarefied realm of medium-format photography, where film sizes are much larger, and the demand for quality is much higher, the change to the digital era has been equally jarring.

Phase One, though, was digital from the outset, and it's become a force for consolidation in the digital medium-format photography market. The company announced its plan to acquire technology and hire employees from Kodak's Leaf medium-format brand just months after taking control of Japanese medium-format camera maker Mamiya.

Leaf sells medium-format cameras, digital-sensor camera backs, and Leaf Capture photography software. The latter two products, but not necessarily the first, will live on under Phase One management.

(Credit: Leaf)

The vast majority of cameras sold today are either all-in-one compact models or higher-end single-lens reflex (SLR) cameras with interchangeable lenses and larger, better image sensor chips. Medium-format cameras are another step up the ladder, costing tens of thousands of dollars for digital models, employing even larger sensors with more megapixels, catering to professionals almost exclusively, and offering not just interchangeable lenses but also sometimes interchangeable viewfinders and "backs," too, where image sensors or film packs are mounted.

Once the Leaf deal closes in about two weeks, Phase One Chief Executive Henrik O. Hakonsson said in an interview, Phase One will continue to develop and sell Leaf's digital backs and photography software through a new Israel-based company, Leaf Imaging. The new company will sell products that use Phase One's image sensor chip technology but that maintain Leaf's user interface approach, he said.

"We do not believe you can box everything together and serve all the pro photographers' needs," Hakonsson said. "One main thing we can get from Leaf is the ability to serve this market through a broader range of solutions than our own current design and engineering is able to offer. Another is, we need to be able to have more critical mass" in designing and manufacturing high-end image sensors.

Terms of the deal weren't disclosed.

The changes illustrate just how complicated the digital transformation is for the high-end photography market, populated by the likes of high-priced photographers who shoot Vogue fashion ads and close-ups of jewelry and watches.

Back in the film era, it wasn't much more expensive to produce larger frames of film for these more demanding photographers than the 35mm film size used by mainstream folks. But in the digital era, with the constraints of processor manufacturing, it's vastly more expensive to produce larger image sensors than small ones. Phase One's top-end camera, the 60-megapixel P65+, costs about $40,000.

That economic reality is behind much of the medium-format market turmoil. Phase One, though, has grown each of the last seven years. "I don't think there's a simple recipe. I think it's equal parts hard work, good thinking, and a little bit of luck," Hakonsson said.

Phase One faces plenty of challenges, though--notably Canon's 21-megapixel, $7,000 1Ds Mark III and Nikon's newer $8,000 D3X. These models benefit from those companies' deep engineering, manufacturing, and marketing experience and from their broad customer bases. Both those companies are aiming their cameras at studio photographers with medium-format expertise.

Will Leaf's camera survive?
Leaf offers both Aptus-branded digital backs and AFi-branded digital cameras. While Phase One has rights to sell both those lines, it has committed so far only to sell the digital backs, Hakonsson said.

That means that Phase One's move will likely reassure Leaf digital-back customers, but those using the AFi camera still face an uncertain future. The Leaf AFi was developed in partnership with two other medium-format brands, Franke and Heidecke's Rollei and Jenoptik's Sinar, which sell their own versions of the camera, but Phase One declined to join that partnership earlier.

That camera partnership's future already is under a dark cloud. Franke and Heidecke, which manufactures the camera system for the trio, filed for bankruptcy protection earlier this year.

Phase One will conduct a "thorough investigation of the product concept," Hakonsson said, "but there is no guarantee that Leaf or Phase One will support the system. We do have product rights to it and are able to do it, but it has to come down to a business decision whether it makes sense to revive the system."

The allies behind the system have made some progress since its inception, but Phase One remains concerned about issues with optics, durability, and service, Hakonsson said.

Digital-back business
Digital backs, on the other hand, are a better business for the company. They can be used with a range of medium-format cameras and with other more exotic models, such as large-format cameras and view cameras--the kind with the collapsing bellows most people associate with 19th-century photography but that still are in use.

In this segment of the market, where photographers are more set in their ways, older camera designs can last a long time. Just selling backs means the image sensor component of the camera can be changed relatively often to keep up with technology, but the rest of the system, which changes more slowly, can be used for longer.

"Six years ago, Contax discontinued production, but we've never sold as many Contax digital backs as we do today," Hakonsson said.

The other major power in the medium-format realm is Hasselblad, whose recent designs such as the H3D-II have favored integrated camera designs rather than interchangeable backs. That integration move deprived Phase One of a lot of potential digital back business and provided motivation for the Mamiya and Leaf deals.

Phase One has about 100 employees of its own and another 150 through Mamiya. The Leaf group is in the process of hiring about 25 employees who lost their Kodak jobs, he said.

Phase One has primarily used Kodak's image sensors, but its more recent models, including the high-scoring P65+, are built by Canadian manufacturer Dalsa. "For maybe the last 18 months, Dalsa has been ahead," he said.

Updated 5:01 p.m. PDT with further details on Phase One competition.

The camera in Apple's upcoming iPhone 3G S sports not just video, but also some new features besides the usual not-so-useful bump in megapixels.

The phone, available next week in the United States and some other countries, comes with a 3-megapixel camera compared to the current iPhone 3G's 2 megapixels. It can shoot video at 30 frames per second at VGA (640x480) resolution, matching competing phones and addressing a shortcoming of the current phones.

Videos can be edited on the iPhone 3G S by trimming the sequence of still images taken from the video.

(Credit: Apple)

But the iPhone 3G S can do more than just shoot video, said Phil Schiller, Apple's senior vice president of worldwide marketing, at the company's Apple Worldwide Developer Conference here. People can share videos through e-mail, MMS, Apple's MobileMe service, and YouTube.

And taking advantage of the iPhone's relatively powerful hardware, people can "scrub" through a video--that is, click and drag to fast-forward and rewind--as they watch to jump to the spot they want. Likewise, they can trim videos to pare back to the desired portion. The scrubbing and trimming uses an interface that displays the video as a filmstrip sequence of still frames.

The iPhone 3G S also includes still camera upgrades for the photography crowd--and it should be noted that the iPhone rivals SLRs for activity on Yahoo's Flickr photo-sharing site, outpacing all mobile phones and all but one actual camera.

First is autofocus. Mobile phones' tiny image sensors often mean everything is in focus whether you want it to be or not, but the iPhone 3G S will let come with autofocus to try to ensure that the right part of the image is sharp. A feature called "tap to focus" lets people tap on the screen image to focus the camera on a particular part of the image--foreground or background, for example.

Yahoo's Flickr site puts the iPhone head and shoulders above other mobile phones for popularity on the photo-sharing site.

(Credit: Screenshot by Stephen Shankland/CNET)

Coming along with autofocus is an automacro mode, too, for close-up shots, Schiller said.

Apple also said the new phone has better low-light performance--a common bugaboo not merely for mobile phone cameras but for regular point-and-shoot models as well.

The iPhone 3G S will cost $199 for a 16GB model and $299 for a 32GB model, Apple said. Other features include better battery life and faster performance.