I’ve got 54,220 photos on my computer, including a few would-be National Geographic covers but far more out-of-focus portraits and poorly exposed sunsets that I’ve never bothered to fix or delete.

Thanks to plummeting prices on digital SLR cameras, amateurs like myself can now experiment freely with artistic shots, taking hundreds of photos without spending a small fortune in film. But those experiments generate a lot of homework by way of virtual stacks of photos in need of processing.

Lightroom’s dense panels of options.

Adobe Systems Inc.’s (ADBE) Photoshop is famous for helping photographers extract the most out of their shots in a digital darkroom. But at $699, Photoshop costs as much as a new camera and takes a graduate course to master. Moreover, Photoshop was designed to edit a single photo at a time, not for sorting through a collection.

A new generation of software from Adobe and Apple Inc. (AAPL) has emerged to fill the gap between Photoshop and entry-level photo-management software like Apple Inc.’s iPhoto and Google Inc.’s (GOOG) Picasa. For people who have graduated from point-and-shoot cameras, Adobe’s Photoshop Lightroom 3 ($299) and Apple’s Aperture 3 ($199) offer tools to organize large collections and tackle the nitty-gritty of digital developing and re-touching.

I’ve been testing Lightroom (for Mac and PC) and Aperture (for Mac only) to organize, process and share photos I took at my friends’ recent wedding. While both programs were designed with professional photographers in mind, I found they were effective at helping a hobbyist like myself whittle 400 photos to just 40 in less than an hour.

The programs also let me edit photos far beyond the basics of brightness and contrast. One shot moved from the reject to the favorites pile after Lightroom let me take advantage of my Canon camera’s advanced image format to boost the exposure of an image taken during a dimly lit reception.

Many professional photographers have a strong preference for one of the two programs. I preferred the overall aesthetic and photo-editing tools in Lightroom for extracting the best from my photos. Nonetheless, Aperture’s strengths lie in some nifty organizational tricks, and I would recommend it for people interested in three specific uses: upgrading from a large iPhoto collection; taking video with an SLR; or tagging photos with locations.

At their core, both Lightroom and Aperture are databases, but don’t let that scare away your inner Ansel Adams.

Lightroom’s database gives you tools to organize your photos into folders on your computer, create collections from across folders, and tag photos with keywords, star ratings, and other features. For people like me who are lazy about applying tags to describe photos, Lightroom offers a spray-can tool to virtually “paint” keywords on bunches of photos at one time.

Aperture’s approach to cataloging is borrowed from iPhoto. You put your photos into “projects” (known as “events” in iPhoto), which the software will suggest when you import images from your camera based on groups that were taken around the same time. You can also add keywords, ratings and other tags.

But Aperture has two more tricks up its sleeve. You can tag photos based on the people in them, using the same technology Apple built into iPhoto to recognize faces. While that’s a good idea, I found that Aperture (like iPhoto) didn’t do an ideal job at distinguishing faces, especially in profile.

Apple says the face-recognition function works best if you identify both a couple of front-on and profile photos for any person, and also let it finish going through your whole collection before using it.

More useful is Aperture’s ability to tag photos geographically. Some new cameras collect GPS data with each shot and Aperture charts that info with pins on a giant world map, making it fun to track a journey or search for all the photos taken in one place.

Unfortunately, the majority of cameras don’t capture GPS data, but Aperture does offer some tools for adding in location data after the fact, such as importing it from a photo taken by an iPhone at the same site. Lightroom can also record GPS data for photos, but you have to work with third-party plug-ins to get the same functionality as in Aperture.

It’s in the digital darkroom that both programs earn their keep. The biggest reason an SLR-owner should upgrade beyond a basic photo editor is so he or she can work with so-called RAW files, sort of digital negatives that use extra data from the camera’s sensor to give you artistic control over factors like exposure long after you’ve shot the photo. Both programs work well with RAW, and moreover, editing photos on both programs is nondestructive, which means you can undo any changes you make—all the way back to your original photo—even after the photo has been saved. Sometimes the sky really can be too blue.

I found Lightroom’s editing features to be the most intuitive. It uses a three-paned screen clearly showing all of the available adjustments, your photo, and a history of the changes made to the image. I felt Aperture made me hunt for some of those features, but some users may prefer its optional floating palettes to Lightroom’s dense panels of options, and also its elegant system for brushing changes onto an image.

Lightroom boasts some cutting-edge editing features, such as the ability to adjust photos based on profiles of the lenses used to take them. That’s especially useful if you are working with a wide-angle lens that can distort images. With the click of a button, a warped wall at the edge of a wide-angle photo is made vertical again. The lens profiling wasn’t automatic with my older-model Canon SLR, but still worked.

To be sure, there are well-known Photoshop tricks that neither of these programs can do, such as stitching two or more photos together. They also can’t digitally cut your ex’s head out of photos. But if you really need to do that, finding the right photo-editing software is the least of your problems.

And to my disappointment, both programs are missing an increasingly popular service called HDR, or high dynamic range, where you merge photos taken at different levels of exposure into a new photo that takes the best aspects of them all. To make these sorts of images, you have to download external plugins. That’s the occasion I most missed Photoshop.

Finally, the programs both offer tools to showcase shots in professional-looking books and prints as well as on websites like Facebook and Flickr. Lightroom has the most options for producing Web galleries.

Aperture will appeal to users with cameras that do the newest trick in digtial SLR photography: take video. Such videos, which can feature beautiful photographic characteristics like short depth of field, can be imported and edited right in Aperture. The videos can be included in the software’s handsome mixed-media slideshows without the need for a separate video-editing program.

Either Lightroom or Aperture is a worthy upgrade for any semi-serious photographer. Both are available to download for free limited trials and I’d suggest testing the workflow of both before committing your photo collection.

Walter S. Mossberg and the Mossberg’s Mailbox will return Sept. 16. Email Geoffrey Fowler at geoffrey.fowler@wsj.com.

While we’re posting all the interview videos from the eighth D: All Things Digital conference over the next weeks, they don’t have that you-were-in-the-audience quality.

So, here is a time-lapse video that was taken of the conference, held recently at the Terranea Resort in Rancho Palos Verdes, Calif., that shows it all in under five minutes.

A camera was running 24/7 in the main ballroom of the event, snapping a picture every five minutes. There was also one taking a picture every five seconds, although it takes a little more than an hour to watch.

Time did fly at D8, especially given that we spend all year prepping for it, but not quite this quickly.

You can also see the stage action more slowly in the full-session videos of the interviews with Apple (AAPL) CEO Steve Jobs and Facebook CEO Mark Zuckerberg.

Enjoy:

The parties filing the suit include the American Society of Media Photographers, the Graphic Artists Guild, the Picture Archive Council of America, the North American Nature Photography Association, Professional Photographers of America, and a number of individual photographers and illustrators.

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Apple’s iPad may not currently feature a camera, but it’s likely to acquire one in the future if this recruitment ad, below, spotted by Mac Rumors is a good indicator. The ad seeks a software Q/A engineer for Apple’s iPad Media team.

Among the necessary qualifications: “a strong technical background to test still, video and audio capture and playback frameworks…familiarity with and interest in photography, video as well as media file formats” and a “demonstrable knowledge of lighting, whether artificial or ambient, and how it affects image quality.”

The ad in full:

[Image Credit: Gawker]

The next logical category of camera after basic point-and-shoots (and before digital single-lens reflex, SLR, cameras) are the so-called megazoom cameras, capable of zeroing in on a subject with around 20x optical zoom strength. They also have fairly high megapixel counts, capturing about 10 to 12 MP each, and offer several automatic and manual settings for capturing photos.

The Nikon Coolpix P90

Most of the cameras in this category resemble SLRs, with bulkier builds and protruding zoom lenses. But they cost somewhere in the $400 range—significantly less expensive than SLRs, which often cost over $1,000 for the camera body alone (lenses are typically sold separately). If you don’t want to spend the money or you aren’t completely sure you want to commit to learning the ins and outs of an SLR, this midrange model is a sound compromise.

Of course, these cameras have some downsides. Serious photographers who have grown accustomed to the high-quality photos of SLRs will point out the comparatively poorer photo quality of megazooms. But for average users like me, the quality of photos captured using a megazoom digital camera is a welcome upgrade from a point-and-shoot.

Another significant difference for point-and-shoot users will be adjusting to the size and overall bulk of megazoom cameras. Users can’t toss them into a small purse or pocket on the way out the door like they do with compact point-and-shoots. Instead, megazooms are usually seen hanging from neck straps or stowed away in camera shoulder bags.

Canon's PowerShot SX20 IS

Some smaller cameras are categorized as megazooms, including the Panasonic Lumix DMC-ZS1K and Casio Exilim EX-H10BK, though both look more like thick point-and-shoot cameras. These Panasonic (PC) and Casio models cost between $250 and $300 and offer 12x and 10x optical zooms, respectively. But they aren’t capable of some of the more advanced features found on expensive megazooms—like 24x optical zoom or some manual settings and shooting modes.

This Christmas, I was fortunate to receive one such megazoom camera, the Nikon Coolpix P90, which costs around $400. Though I’ve used other cameras in this category, I was especially struck by how the capabilities of this megazoom altered my photo-capturing behavior.

In the Snow

Granted, not everyone will react as I did, but I took my camera and set out on photography jaunts around my neighborhood in Washington, D.C., scaling piles of snow to capture just the right angle, and using tree branches to frame shots of the Capitol in the distance.

The details and colors in the photos that my camera captured were so much more vivid than those on my admittedly older point-and-shoot that I wondered what took me so long to make the upgrade.

I spent the first week with this camera using it in its Auto setting—an old habit that carried over from my point-and-shoot days (also because I didn’t have time to read through the manual).

But even in the automatic mode, photos looked astonishingly good—prompting compliments from family and friends. A week later, I delved into the camera’s user manual and learned how to use many more features.

A Downside

One big downside: Though the Nikon Coolpix P90 weighs only 16.2 ounces, its bulky shape prohibits it from being carried along on a whim.

I brought the camera on a family vacation, but left it in my room rather than trying to fit it in my bag during a trip to the beach and on a zip line ride through the rain forest. A compact point-and-shoot would’ve easily fit into a pocket.

But then I have my BlackBerry Curve 8900′s camera—with 3.2 megapixels, auto focus and a built-in flash—for snapping photos on the go. (Plus, I can instantly share the shots via email, Facebook or Twitter.)

As more mobile devices include good quality cameras, like Google’s (GOOG) new $179 (with T-Mobile) Nexus One super-smart phone with five megapixels and a flash, fewer people will need to carry point-and-shoots for quickly capturing digital memories.

A Pleasure to Edit

Editing photos captured by a megazoom is a real pleasure. I cropped and zoomed to my heart’s content, noticing more details in photos after looking at them on my computer than when I initially took the pictures. When I needed to trim someone or something out of a shot, I didn’t worry about degrading the photo’s overall quality. And because of their high resolution, my photos can be enlarged with very little quality or color compromise.

The Casio Exilim EX-H10BK

In addition to Nikon, many other companies make cameras for the megazoom category. Some examples are Canon’s $400 PowerShot SX20 IS, Sony’s (SNE) $480 Cyber-shot DSC-HX1 and Casio’s $400 EX-FH20. These offer several shooting modes, as well as scene modes for common settings like sunsets, backlight, night portraits, burst mode and panoramas. They have optical and/or digital-image stabilization to thwart shaky hands, settings for focusing in on a subject manually or automatically, and ways to save frequently used manual settings.

Flash Features

Some megazooms have built-in flashes, while others use an external mount so that a flash can be snapped on or off for use. (My Nikon came with a built-in flash.) They often have more than one flash that fits in the mount, leaving users with the choice of which one to use.

The digital cameras include LCD viewing screens as well as optical viewfinders. (The latter is commonly left off of many small point-and-shoot cameras, but it’s really helpful for people who want to hold the camera up to one eye for steadier shooting.)

Some LCD screens, like the Canon’s, swing out and swivel around. The Nikon’s can be adjusted up 90 degrees or down 45 degrees for shooting below or above a subject.

No matter which model, the megazoom category of digital cameras offers a combination of advanced features and affordability that could entice people who are ready to take the next step into a world of more serious digital photography.

Email

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Write to Katherine Boehret at mossbergsolution@wsj.com

@womensweardaily (Women’s Wear Daily): Master photographer Irving Penn dies at 92. WWD looks back on his career

@Fashionista_com (fashion blog): RIP Irving Penn. You will be so greatly missed.

@vanityfairmag (Vanity Fair magazine): RIP Irving Penn. Here are six covers he did for Vanity Fair in 1983/84

@NARSissist (NARS cosmetics): We’ll miss you Irving Penn….

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Google (GOOG) announced that “to kick off the summer season,” it has launched a new collection of nature themes for iGoogle, its personalized home page service.

“Google has collaborated with today’s leading nature-related organizations and some of the best nature photographers in the field who have all captured the essence of nature, through photography and artwork,” the company said in a blog post, “Today, we are sharing those stunning visuals of nature, animals and scenic landscapes with tens of millions of iGoogle users.”

Hmmm…a search engine with pretty pictures…hmmmm…where have I seen that before…hmmm…

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