Don’t believe everything you read. There’s a lot of rumor and speculation about the Kindle. One thing I can tell you for sure is that there will be no new version of the Kindle this year. A new version is possible sometime next year at the earliest.”

– Amazon spokesman Craig Berman says Kindle 2.0 still hasn’t left the printer.

The judge disagreed. And his reasons for doing so will undoubtedly come into play in the Viacom case and others as well. “Veoh has simply established a system whereby software automatically processes user-submitted content and recasts it in a format that is readily accessible to its users,” the judge wrote. “Veoh preselects the software parameters for the process from a range of default values set by the third-party software. … But Veoh does not itself actively participate or supervise the uploading of files. Nor does it preview or select the files before the upload is completed. Instead, video files are uploaded through an automated process which is initiated entirely at the volition of Veoh’s users.”

Google (GOOG) was understandably quite pleased with the ruling: “It is great to see the Court confirm that the DMCA protects services like YouTube that follow the law and respect copyrights,” Zahavah Levine, YouTube’s chief counsel,” said in a statement.

Viacom (VIA) was equally displeased, understandably. “Even if the Veoh decision were to be considered by other courts, that case does nothing to change the fact that YouTube is a business built on infringement that has failed to take reasonable measures to respect the rights of creators and content owners,” the company said in a statement. “Google and YouTube have engaged in massive copyright infringement–conduct that is not protected by any law, including the DMCA.”

The big news after-hours will be Dell’s (DELL) report on its fiscal second quarter, ended July. The Street is expecting sales of $15.95 billion and profits of 36 cents a share.

But there are quite a few other reports on tap.

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And those who’ve decided to participate have good reason for signing on, as YouTube Product Manager David King points out in a post to the Official Google Blog. “… Our Video ID partners are seeing claimed content more than double their number of views, against which we can run ads,” King writes. “This means that if a partner has, say, 10,000 views of its content, leaving up videos claimed by our system will lead to an average additional 10,000 views of that same content. We call this “partner uplift,” and for some partners we’ve seen uplift as high as 9000 percent.”

At this point, the “partner uplift” to which King refers hasn’t generated much revenue. But it may have created something far more important: a paradigm shift. “We don’t want to condone people taking our intellectual property and using it without our permission,” Curt Marvis, the president of digital media at Lionsgate Entertainment, recently told the New York Times. “But we also don’t like the idea of keeping fans of our products from being able to engage with our content. For the most part, people who are uploading videos are fans of our movies. They’re not trying to be evil pirates, and they’re not trying to get revenue from it.”

But ultimately, the rights owners are. And now that YouTube has more than 70 million monthly unique viewers and a parent company well-practiced in hardball negotiating tactics, it seems they have little choice but to align themselves with the site. Which is ironic, in a way. Because this is exactly the scenario that Viacom CEO Philippe Dauman has been describing since the media behemoth filed its $1 billion copyright infringement suit over video clips on YouTube. Dauman has long maintained that Google’s (GOOG) strategy has been to defy copyright owners long enough to dominate the online video space and bend the content industry to its will. And, indeed, Google seems to have done exactly that.

Entrepreneur Mark Cuban once said, “Only a moron would buy YouTube.” Who’s the moron now?

Cowen’s Louis Miscioscia assessed the rumors in a research note this morning. He says an acquisition of the company is possible, but unlikely. “NetApp has a commanding presence in the NAS [network-attached storage] space, which would be attractive to any enterprise hardware company,” he writes. “However, given timing and finances, we believe there is only one possibility as [a] candidate, IBM.”

And even IBM would be a surprise, he says. Miscioscia notes that while IBM has done many deals over the past 10 years, none would be as large as this one–he figures it would take about $10 billion to buy NetApp, given a modest premium to the current $8.6 billion market cap. He says the odds IBM would attempt a deal that size are “low,” given its focus on buying smaller companies.

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Since May 2007, Epstein had been CFO of Oberon Media, an Internet game provider and publisher funded by Goldman Sachs, Morgan Stanley, Oak Investment Partners and Lehman Brothers. Epstein previously worked at DoubleClick, King World and ADVO, according to Oracle. Epstein is on the board at Priceline (PCLN) and MDC Partners (MDCA). Epstein, 52 years old, has an M.B.A. from Stanford and a B.A. from Yale.

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But every time I wanted to change songs, I had to go to another room and make a few mouse clicks on my computer. Ever since then, I’ve been waiting for someone to come up with a good, affordable remote control that lets me change tunes no matter where I am in the house.

Apple’s Remote program

It turns out, I already owned that device. It’s an iPod touch. A new program released by Apple (AAPL) in July was all it took to convert my MP3 player into a sophisticated remote control for my digital-music collection. That program, called simply Remote, runs on the iPhone as well as on the iPod touch, a version of the Apple MP3 player that has an iPhone-like touch-sensing screen and Internet-access capabilities using Wi-Fi wireless technology. Remote is available free of charge on the online App Store that Apple has used since July to distribute software for those devices.

In essence, Remote is a remote control for all music stored on a Mac or Windows PC that’s loaded into iTunes, Apple’s music jukebox software. It allows you to jump between playlists, browse artists and pump up the volume. For the program to work, you need to buy into using other Apple entertainment products.

In the simplest setup, Remote lets you control the music from stereo speakers connected directly to a PC. But it’s most useful when you use a PC to deliver audio to additional speakers around a home — say, a pair on the patio and in the living room.

Apple sells a couple of products that receive audio signals from a PC running iTunes. Both work wirelessly over a Wi-Fi home network so you don’t need to put holes into your walls to run computer and speaker wires. I tested Remote using both. One is an Apple TV, a $229 set-top box in my living room that plays digital audio and video through a standard home-theater system. The other is an AirPort Express, a $99 Apple wireless networking device on my patio connected to a pair of powered A5 speakers made by Audioengine, of San Jose, Calif. A third set of speakers was connected to an iMac in the kitchen, where I store all of my digital music. (The least expensive iPod touch costs $299.)

It was a breeze to configure the Apple TV and AirPort Express to show up as remote speakers in iTunes on my computer. Setting up Remote to give me mobile control over this array of speakers was trickier. After installing the program on my iPod touch, I couldn’t get it to work with iTunes on my PC. After 20 minutes of fiddling with the security settings for my Wi-Fi base station, iTunes finally recognized Remote. I was in business.

We all know how confusing the remote controls for TV sets and stereo systems can be. Remote, by contrast, cleanly displays all the music on my PC on the color screen of my iPod touch.

The program let me flip through artists, albums and playlists with simple finger swipes. But I was sorry that Remote doesn’t have a feature in the iPod touch called cover flow that lets users browse their music libraries by flipping through album-cover art. Apple says it may offer the feature in the future.

The software also let me easily turn on and off the music from my speakers in my kitchen, living room and patio. I could have all the speakers on at once — good for a party. The sound was terrific. The crisp-sounding $349 Audioengine speakers don’t require a stereo receiver.

Because Remote uses Wi-Fi to communicate with iTunes, I could control music anywhere around my house and backyard, which are small enough to be fully covered with a signal from my Wi-Fi base station. That’s a big plus over conventional remote controls that use infrared, a technology that doesn’t work through walls.

One drawback: The battery in my iPod touch drained overnight when I configured the device to stay connected to iTunes, a feature that increases software responsiveness. Changing the setting let me go days without recharging my iPod touch, but it meant I had to wait a couple of seconds for Remote to connect to iTunes when I started up the software — an acceptable trade-off.

Another multiroom audio product with a good remote control is the ZonePlayer from Sonos, an equipment maker based in Santa Barbara, Calif. That system has some advantages over Apple’s offerings, including the ability to access tunes from online music services, such as Pandora and Rhapsody, and separate volume controls for each set of speakers.

The Sonos system starts at $999 for a remote control and wireless receivers, without speakers, that can deliver music to two rooms.

For people who already own an iPod touch or iPhone, Remote is a good reason to buy an AirPort Express, and fill your home with music.

Walter S. Mossberg is on vacation.

• Email Nick.Wingfield@wsj.com.

An interesting observation, especially since cows’ … animal magnetism has been chalked up to wind and the angle of the sun for hundreds of years.

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Unless you simply kept it in beta for a few years like some of your other products. …

Java’s not worth building in. Nobody uses Java anymore. It’s this big heavyweight ball and chain.

- Apple CEO Steve Jobs, Feb. 2007

Looks like Apple (AAPL) has run afoul of Britain’s Advertising Standards Authority (ASA) again. The watchdog agency, which took Apple to task in 2004 for its boast that the Power Mac G5 was “the world’s fastest, most powerful personal computer,” has ruled that one of the iPhone commercials the company has been running in the U.K. is misleading. The ad, which touts the iPhone’s Web browsing abilities, included the following voiceover:

You never know which part of the Internet you’ll need. The ‘do you need sun cream’ part? The ‘what’s the quickest way to the airport’ part? The ‘what about an ocean view room’ part? Or the ‘can you really afford this’ part? Which is why all the parts of the Internet are on the iPhone.”

ASA took issue with that last line. Because the iPhone doesn’t support Flash or Java, there are actually quite a few parts of the Internet that aren’t available on the iPhone, which make’s the ad misleading in ASA’s eyes. “Because the iPhone doesn’t support Flash or Java, you couldn’t really see the Internet in its full glory,” ASA spokesperson Olivia Campbell told the BBC. “They made a very general claim that you can see the Internet in its entirety, and actually that’s not quite true.”

Maybe, maybe not. Depends on how you look at it. Because truthfully, the iPhone can access Flash and Java content. It just doesn’t doesn’t render it. In any event, the ASA is an independent organization, not a government one so it can’t exactly enforce its ban on the commercial at issue here, anyway.

A curious strategy for a company that has been selling desktop computers running Mac OS X in clear violation of Apple’s software license agreement–desktop computers Apple claims are so lousy they’re damaging the Apple brand. Interesting, though. Because if Psystar wins the suit it would certainly set an interesting precedent.

Not that it’s likely, given the acumen and prowess of Apple legal. They’re like Pacino’s John Milton in The Devil’s Advocate–the whole team of them.

Think about a mobile device with a touch screen that’s designed to work with smart software. A single tap on its surface instantly zooms in on images; a flicking gesture moves one photo off the screen and pulls another one on. Menus appear with clever animation, and actions like downloading and emailing photos and videos are intuitively incorporated, rarely more than one step away.

Bet you’re thinking about Apple’s (AAPL) iPhone.

I’m actually describing a Windows Mobile device. In fact, any touch-screen Windows Mobile device made in the past couple of years can perform the aforementioned functions — as long as it’s running a new application called Kinoma Play.

This much-needed shot in the arm for Windows Mobile comes from Kinoma Inc. and for $30 can be downloaded onto a computer or directly onto a device from www.kinoma.com. It works on touch and nontouch screens alike, though touch features do add a lot of pizzazz. After installation, Kinoma Play seems to totally take over the device’s multimedia functions, hiding every trace of Windows Mobile’s clunky, antiquated, menu-driven operating system.

Kinoma Play in action, clockwise from top left: a media interface, touch-screen navigation, upload to YouTube, picture rotation, search by characters, and photo zoom.

It smoothly opens and displays all types of media, including photos, videos and music. But it’s also a fast search engine for multimedia content on the phone, on the Web or even on your computer via remote search. Kinoma Play works with services including YouTube, Audible, Flickr, iDisk, Live365, Orb and SHOUTcast. And a section called the Kinoma Guide compiles over 100,000 podcast episodes, radio stations, videos, live television and Webcam clips, panoramas and photos into easy-to-browse categories.

After almost a week with this application, I changed the way I thought about on-the-go Web browsing for media. I forgot about typical browser functions like typing a Web site’s name into a URL bar and instead did plenty of things online with my portable device without deliberately thinking about being online.

Kinoma Play is so well-designed that I wish it could entirely replace the dated Windows Mobile user interface, which still lags behind the iPhone’s. But, alas, it’s about media only. It isn’t designed to supplant, and doesn’t change or improve, any of the phone’s more common functions, like overall email and Web browsing, calendar, contacts or productivity programs.

Kinoma is working on Symbian, Linux and even iPhone versions of its application and will release one of those versions by the end of this year.

I ran into a few problems while using Kinoma Play. On three different occasions using two different devices, my touch screen froze when I tried to start the application, and the only way I could fix the problem was by completely rebooting my device. Once in a while, I experienced slow performance, though this could have been attributed to my network connection. And Kinoma Play lacks a one-step shortcut to its home screen; currently, users must press a “Back” soft key on each screen until they reach the home screen.

But the pluses of Kinoma Play outweighed these hassles, especially considering how enjoyable this application was to use. I tested Kinoma on two Palm (PALM) devices running Windows Mobile: the not-yet-released Treo Pro, which will be available here in the fall for an unlocked, unsubsidized price of $549, and the $250 (after discounts and two-year-contract rebates) Treo 800w available from Sprint (S). Both have touch screens that work best with an included stylus, though a fingernail or fingertip worked for me in most cases.

Upon installation, Kinoma Play automatically scans a device’s media and organizes it into categories under a section called My Media Files. I was especially eager to see how photos were handled, so I started out in the Pictures category.

All Kinoma screens have a set of familiar navigational tools that appear as soft keys at the bottom of the screen; they show up when the bottom section of the screen is touched and disappear when touched again. On the bottom left, a “Back” arrow takes users to the previous screen. On the bottom right, a list-like icon represents what Kinoma calls the Menu Pod. When touched, this pulls up three succinct menus — for media, settings and another action related to the program that’s open.

I opened some photos that were stored on the Palm Treo Pro and touched the center of the screen with my finger. A quick tap on the screen zooms in on each photo, and a small inset of the photo with a box representing the magnified area appears on the lower right of the screen. I dragged this tiny box around in the inset image to change where I was zooming. To zoom in on a photo slowly, I simply touched and held my finger on the screen for a longer period of time. A quick tap after either zooming method will quickly snap the image back to normal view.

I moved from one photo to the next as I do on my iPod Touch: by placing a finger on one edge of the photo and flicking left or right across the screen. Rotating was fun and easy to do when I drew a circle on the photo with my fingertip in the direction that I wanted it to rotate. The image followed whatever motion I drew. To rotate the photo 180 degrees, I drew a larger half-circle.

I selected Flickr from Kinoma Play’s list of services and signed into my Flickr account in just a few steps. My photos and those of friends were just as easy to browse as my own photos, thanks to Kinoma Play’s built-in tools. The Menu Pod icon offered a one-step way to play all photos in slide shows; music could be selected to play in the background.

With a touch on the Menu Pod icon, users can add any media to favorites or to an “on-the-go” list. This same tool also sends multimedia to others via email; I used it to send friends photos of a recent trip to California as well as a YouTube link to video footage of Sen. Joe Biden speaking.

Kinoma makes something out of every action. The Menu Pod button seems to jump into the center of the screen when summoned, and each of its three menus spins like a tiny top to get out of the way so another menu can be seen. Other screens seemed to do a mini back flip as they opened or closed. And long lists seemed to bounce when scrolling reached the top or bottom.

In the Services menu, I used Audible to listen to part of an audio book and listened to rock and country songs on Web radio stations from SHOUTcast and Live365.

I particularly liked using the Kinoma Guide, which is constantly updated with material that streams to your devices when you open it. I found a Restaurant Guys podcast in which chef Cat Cora was interviewed, and even saved it for later listening by downloading this seven-megabyte podcast to my device in one clean step. Kinoma wisely adds all downloads to a special section that’s easy to find. The last 100 things you looked at on Kinoma Play can be found in a section called History.

These days in the tech world, much attention is being paid to applications sold on Apple’s App Store for use with the iPhone or iPod Touch. But Kinoma Play is one application that is desperately needed by Windows Mobile users, and it just might remind them that they can better navigate media-related Web services — without having to buy a new mobile device.

Edited by Walter S. Mossberg

• Email us at mossbergsolution@wsj.com. Find all our columns and videos online free at the All Things Digital Web site: http://walt.allthingsd.com

But–as many readers have requested–they will all be available in their entirety in this column.

Here’s Part 4 of 4 of an interview I did with Facebook Founder and CEO Mark Zuckerberg and COO Sheryl Sandberg. (I posted one video part of the discussion with Zuckerberg and Sandberg every day this week, starting Monday and concluding today.)

The social-networking site has had quite a year as the hottest and most hyped on the Web 2.0 landscape. With fast growth and still-questionable monetization power, where Facebook is going will be a journey plenty will be paying attention to.

In this video, Zuckerberg and Sandberg take questions from the audience about privacy, older users, needed Facebook applications, how open its platform should be, data protection, the dilemma of too many Facebook friends and the importance of search.

This contrast has appeared sharper in recent years, as Microsoft’s Windows Vista operating system received a tepid critical response compared with Apple’s Leopard platform and as the company’s Live Web search service has slipped further behind Google’s. In addition, Microsoft’s cellphone software, Windows Mobile, looks old and creaky compared with Apple’s sleek iPhone and Google’s forthcoming Android mobile operating system.

But innovation does exist at Microsoft’s sprawling Redmond, Wash., campus. For instance, last year’s daring and radical redesign of Microsoft Office has been a critical and commercial success.

Now, there’s a sort of guerrilla team inside Microsoft designed to churn out innovative products more often and more rapidly. Called Live Labs, the unit is a small operation that aims to turn technology theories into real, Web-based products relatively quickly. It has only about 125 employees, and even that modest number is broken up into smaller teams tackling specific projects.

This week, Microsoft Live Labs is releasing its first broad consumer Web service, called Photosynth. This service turns multiple photos of a scene or site — say, an art gallery or a building — into a 3-D scene you can virtually “walk” through on the Web.

Unlike a simple 2-D panorama, which many photo programs can create from several pictures, a Photosynth creation, called a “synth,” is a virtual 3-D environment. It gives you the feeling you are in the middle of a room looking around, or circumnavigating a building or object. You can travel through a scene both laterally and vertically, and zoom in to see detailed, higher-resolution views of objects inside the synth, such as paintings on a wall.

For instance, you don’t just see a long, flat picture of Stonehenge or the Grand Canal in Venice. You are made to feel you are there, moving through these places, looking up at the sky or down at the ground, and pausing to examine more closely a particular stone, boat or building.

Such 3-D walk-through images have been around for awhile; they are used on some real-estate Web sites, for example, to show houses virtually. But Photosynth allows anyone to create them using any standard digital camera, and even using pictures you already possess that weren’t created with Photosynth in mind. You could even use photos of the same site taken by several people. The software will analyze the pictures, figure out which ones overlap and in what order, and then turn those shots that match up into a 3-D synth.

Photosynth, based on technology Microsoft acquired in 2006, is entirely free, and it’s entirely based on the Web, at photosynth.net (where it will be launched at midnight EST Thursday). At that site you can view not only your own synths, but the synths created by every other Photosynth user.

I’ve been testing this service for about a week, and while it has its flaws, I believe that Photosynth offers a dramatic new way to use your photos and to share them with others.

Photosynth works within a Web browser, using a small plug-in you install. Currently, it works only in Windows, using Microsoft’s own Internet Explorer browser or its rival, Firefox. A Macintosh version is in the works, but for now, you can’t even view others’ synths in the Mac operating system.

When Photosynth works right, the results are wonderfully satisfying. But it takes some skill to get a set of photos the service can match up well, a quality Microsoft calls being “synthy.” Ideally, portions of each slice of a 3-D scene should show up in at least three photos, with 50% overlap between them. After you upload your pictures and Photosynth does its best to make them into a 3-D scene, the service assigns them a percentage number that indicates how synthy they were.

In my tests, I tried both collections of photos I already possessed and some I snapped with Photosynth in mind. My pictures of a piazza in Verona, Italy, were only 38% synthy, while ones I took of a hotel room specifically for Photosynth use were 73% synthy.

One gripe I had was that Photosynth doesn’t tell you how synthy your pictures are until after you have uploaded them and waited until the system merges them, a process that can take a long time over a slow Internet connection. It would be much better if the service could tell you in advance how synthy the pictures are. Another objection is that Photosynth has no privacy settings. All your synths are open to viewing by everyone who uses the service.

But, overall, Photosynth is an impressive new way to view and share photos, and an encouraging sign that innovation and creativity still live in Redmond.

Find all of Walt Mossberg’s columns and videos online, free, at the All Things Digital Web site, walt.allthingsd.com. Email him at mossberg@wsj.com.

I am in the market for a new HDTV and the newspaper ads are using terminology that I’m unfamiliar with. Do TVs rated at “720p” provide the same quality picture as those rated at “1080p”?

Technically, the answer is no, but it may not matter. The 1080p resolution is certainly higher, but almost nobody can tell the difference between the same material shown in the two resolutions on TV screens up to around 50″ in size and at the typical distances from which people watch those screens. Not only that, but most sources of video content, with the exception of Blu-ray discs, can’t even fully utilize 1080p. Major TV networks don’t use it yet because it requires a lot of bandwidth.

If you can afford a set that can handle 1080p, you might want to buy it so that you are ready in case a lot of 1080p content one day becomes available. You might also want a 1080p set if you are a videophile; have an enormous screen or a projector that fills a large wall; or if you play a lot of Blu-ray discs and believe you can discern the difference on a typical-sized screen. Otherwise, you could save money by buying a 720p set and you might never know the difference.

In 2006, you recommended a powerline adapter for Internet access by Netgear, the XE104. Is this still a good buy or are there others by now that are better?

I haven’t tested powerline adapters, the gadgets that route computer networks over standard home electrical wiring, since that date. Netgear and its competitors — such as Linksys and Belkin — have, naturally, come out with newer, faster units since then. But I am still personally using the XE104 successfully and feel I continue to get my money’s worth from it. It is still being sold. The newer units typically have greater speed in order to do a better job of streaming video around a home, but they work in basically the same way.

I have a Windows XP system, and things work well with my cable modem in my office. But when I’m on the road using Wi-Fi, I can receive emails, but can’t reply or send out. Any idea on how to resolve this problem?

This usually happens because the Wi-Fi provider is blocking the outgoing email server (called an “SMTP” server) that you or your IT department has set up in your email program. Some providers block all such outgoing servers. There are a number of possible solutions. The simplest is to use a Web-based email service, like Gmail or Yahoo Mail, or the Web-based version of your usual service. If your email is provided by your company, you may be able to access a version of Microsoft Outlook over the Internet that will work.

Another possibility is to ask the provider at the hotel or airport what SMTP server it does allow — usually its own — and enter it into your email program’s settings, if you know how. Yet another option would be to use a data card from a cellphone carrier, which I have found can usually overcome this problem. There may be other workarounds, and I invite readers to suggest them.

You can find Mossberg’s Mailbox, and my other columns, online, free, at the new All Things Digital Web site, http://walt.allthingsd.com.

But–as many readers have requested–they will all be available in their entirety in this column.

Here’s Part 3 of 4 of an interview I did with Facebook Founder and CEO Mark Zuckerberg and COO Sheryl Sandberg. (I will post one video part of the discussion with Zuckerberg and Sandberg every day this week, starting Monday and concluding tomorrow.)

The social-networking site has had quite a year as the hottest and most hyped on the Web 2.0 landscape. With fast growth and still-questionable monetization power, where Facebook is going will be a journey plenty will be paying attention to.

In this video, Zuckerberg and Sandberg talk about why Facebook is a technology and not a media company, as well as how to make money via advertising, how change is affecting the young company, the state of its relationship with both Google (GOOG) and Microsoft (MSFT), whether Facebook should sell or go the IPO route, and where the company will be in five years.

After spending summer vacation shooting the sights, many people face the same chore: labeling and organizing digital photos before forgetting what they are and where they were taken.

Now there’s a way to upload photos that are already labeled with their exact latitude and longitude using geotagging, the fancy name for labeling data with information on its geographic origin. Photos with “geotags” have coordinates embedded invisibly in them. Some programs or online photo services use these tags to generate maps showing just where each photo was taken, or to label or organize the images. Not long ago, this capability was mostly done through manual labeling or with costly equipment.

The $129 Eye-Fi Explore Card from Eye-Fi Inc. gives people the ability to wirelessly send geotagged photos from a digital camera.

This week, I tested the $129 Eye-Fi Explore Card (EyeFi.com), a special two-gigabyte memory card from Eye-Fi Inc. that adds a photo geotagging feature to Eye-Fi’s original functionality: the automatic wireless uploading of photos, straight from a digital camera to a home computer or photo-sharing service. If all goes well, users can capture and upload what are essentially geographically prelabeled batches of digital photos — with minimal effort and time.

But after days of testing, I found myself more frustrated as I used this wireless memory card in various places and situations, and found the tagging to be unreliable in one scenario. (Eye-Fi Inc. said my experiences weren’t typical.) At home in Washington, D.C., and while on a business trip to California, I tried it using a two-year-old Kodak digital camera and two different Vista laptops, though it also works on Macs.

Eye-Fi introduced the Explore Card as a follow-up to the company’s original wireless memory card, which it introduced last fall. Once set up, the first Eye-Fi card initiated the transferring of photos to a computer or Web site whenever the digital camera was turned on and as long as it was near a pre-associated wireless network.

Through a partnership with Skyhook Wireless, the Explore card can automatically label photos with their latitude and longitude using data from the Skyhook’s Wi-Fi positioning system. As long as a photo is captured within the Skyhook coverage area, which the company says covers 70% of North America, and the geotagging is enabled, each photo will be coded with data identifying where it was captured.

The Explore Card turned otherwise normal photo-sharing sites into mini maps showing where I had traveled while on a business trip in Silicon Valley. I set my account up to work with Flickr, Kodak Gallery, Snapfish, Shutterfly and Picasa Web Albums, though only one will work at a time. Flickr, Picasa Web Albums and Smugmug make use of geotagged photos by tagging shots with their location data, such as “Downtown Palo Alto, California.” I used Flickr and Picasa Web Albums to instantaneously generate a map showing where I was when I took photos.

On Flickr, each image was represented by a pink dot associated with one of several photos