London Tech City: Vodafone unveils incubator developer office.

Posted: 07 Aug 2012 09:15 PM PDT

WorldWide Tech & Science. Francisco De Jesùs.

Vodafone Logo

London Tech City: Vodafone unveils incubator  developer office.

Vodafone is establishing an office in London's Tech City to help developers design new products and services.
The centre will open toward the end of this year to provide logistical support and potential funding to mobile and creative media firms, together with access its 400 million subscribers.

The decision to open a London-based technology incubator follows Vodafone's "xone" initiative, which opened in Silicon Valley a year ago. The xone centre offers U.S.-based startups assistance with business development, network and device architecture, consumer electronics, payment and billing mechanisms, data analytics and content delivery.

George Osborne, Britain's Chancellor of the Exchequer, announced the Vodafone investment alongside investments in London from Barclays and Gree, the Japanese gaming company, at a business summit meant to capitalise on the London Olympics.

"Taken together, these investment represent a triple whammy for Tech City," he said, according to the Financial Times. "You will not find a country anywhere in the world that is more open to technology, more open to investment and more open to business."

The Vodafone announcement coincided with Barclays Bank saying it would be providing office space and financing to startups in Tech City over the next five years, while Gree, is planning a relocate its development studio to the fast-growing London district.

Commenting on the move, Siavash Alamouti, Vodafone's group R&D director  said that he was pleased to confirm the company's intention to set up a new R&D and incubation centre in East London's Tech City. "We believe that the great talent, entrepreneurial spirit and wealth of start-up companies, in both the mobile internet and creative media industries, that are to be found in East London, make Tech City a great location for this centre," he said.

Vodafone's decision to open a focus on London's Tech City for new technology developments follows a recent move by O2 which has already opened its Wayra academy in the same location, and comes just days after Amazon and Facebook announced similar investment in technology centres bordering Tech City.

Press Release:

New incubation centre in Tech City will build on the success of Vodafone xone in Silicon Valley.

Vodafone is bringing its expertise in helping innovative start-up businesses to Tech City, Europe's fastest growing digital hub. Britain's biggest ICT company will open a new technology and incubation centre in the East London area as it looks to nurture the next generation of British start-up talent.

The new centre will provide innovative businesses in the mobile internet and creative media industries with technical expertise, potential financial assistance, logistical support and access to more than 400 million Vodafone customers across more than 30 countries worldwide. It will draw on the expertise of Vodafone Ventures, the company's corporate venture capital arm, which has been successfully investing in innovative new businesses for over a decade.

The decision to locate a new technology and incubation centre in Tech City builds on the success of Vodafone xone, which opened in Silicon Valley a year ago. Vodafone xone identifies innovative US start-ups and helps them move quickly to market. It offers companies support from a team of professionals whose expertise spans business development, network and device architecture, consumer electronics, payment and billing mechanisms, data analytics and content delivery.

Trade and Investment Minister Lord Green said: "I warmly welcome Vodafone's plans to open a technology lab and incubation centre in London's Tech City. This announcement is an excellent reflection of Tech City's success as a thriving hub of innovative technology companies, combined with ready access to Europe's largest venture capital community."

"With the world's spotlight on the UK this summer, we are working hard through the British Business Embassy programme to help technology companies capitalise on the unique opportunity we have in 2012 to secure new trade and investment."

Siavash Alamouti, Vodafone Group Research and Development Director said: "Vodafone is delighted to confirm its intention to set up a new R&D and incubation centre in Tech City. This exciting new centre will build on our existing Vodafone xone facility in Silicon Valley, giving cutting-edge British high tech start-ups access to the expertise and global reach of Britain's largest ICT company."

"We believe that the great talent, entrepreneurial spirit and wealth of start-up companies, in both the mobile internet and creative media industries, that are to be found in East London, make Tech City a great location for this centre."

Vodafone intends to have its centre in Tech City up and running towards the end of the year.

For more information on Vodafone xone please visit

For further information:
Vodafone UK Media Relations
Telephone: 01635 666777

LTE: SK Telecom launched HD Voice call service over LTE.

Posted: 07 Aug 2012 08:52 PM PDT

WorldWide Tech & Science. Francisco De Jesùs.

LTE: SK Telecom launched HD Voice call service over LTE.

South Korean service provider SK Telecom has launched HD voice call service over LTE. According to the company, HD voice call connection time is less than 0.25 to 2.5 seconds, 2 to 20 times shorter than 3G voice calls that require an average of 5 seconds to connect a call.
SK Telecom claims to be first to offer high definition voice call service over LTE that can dramatically push up audio quality. HD Voice uses Adapted Multi-Rate Wide Band (AMR-WB) codec, which offers much upgraded 3G speech coding, and 23.85 Kbps transmission bandwidth, 2.2 times wider than that of 3G voice call, thereby transmitting the previously-inaudible low and high sound waves, and improving voice quality by 40% compared to that of 3G. HD Voice (AMR-WB) provides a much richer, clearer and more natural speech quality due to a wider speech bandwidth of 50–7000 Hz compared to 3G voice call service that is optimized for only 300–2400 Hz voice band.
Operator will offer HD Voice at same rates (KRW 1.8 per second) as that of 3G under pay-per-second billing scheme and allow users to make/receive HD Voice calls without going through a subscription process, thus enabling them to conveniently experience the high-quality, premium service with no additional cost burden.
The company will begin selling Galaxy S3 LTE embedded with HD Voice feature on August 8 and plans to offer firmware upgrades for existing users of Galaxy S3 LTE within this month. In addition SK Telecom plans to embed HD Voice as a basic feature in most of its LTE smartphones to be released in the future.
As an All IP-based premium service that provides high-quality voice, video and data in an integrated manner unlike traditional simple voice calls, HD Voice can be expanded to many new and value-added services. For instance, it offers both voice and video services characterized by seamless in-call voice-to-video call switching and content sharing by linking to RCS services.
SK Telecom completed nationwide LTE rollout (covering 99% of the population) by June 2012 and is providing LTE coverage in underground and in-building areas as well as mountainous region, and coastal/island/marine areas.

LTE: Alcatel Lucent and Sprint deal will speed Sprint LTE deployment

Posted: 07 Aug 2012 08:44 PM PDT

WorldWide Tech & Science. Francisco De Jesùs.

LTE: Alcatel Lucent and Sprint deal will speed Sprint LTE deployment.

Alcatel-Lucent's LightRadio gains traction as Sprint signs up for a substantial deployment. I.D. Scales reports.
Sprint is to deploy a substantial underlay of Alcatel Lucent's tiny LightRadio base stations as part of a complete revamp of its mobile network in the US.
Lots of interest and a slew of trials and commercial deployments have been ongoing since the company announced the tiny radio technology early last year, but this meaty order from the number three US mobile network will be seen as a major step forward for what Alcatel Lucent has been championing as a revolutionary new product set and micro base station approach. 
LightRadio is designed to enable operators to cope with rocketing mobile broadband demand by peppering hotspots with tiny and unobtrusive cells which can be made to support a heterogenous array of radio standards - Gs 2, 3 and 4 as well as WiFi. The technology uses a 'cloud' approach by separating out radio, antenna and processing functions and moving them about -  so that processing from muliple cells, for instance, might be aggregated at a processing point near the edge of the network.

This all helps to keep costs and power consumption down. 
Sprint is rolling out its new LTE network in the US and the LightRadio microcells are to perform an 'augmenting' role by providing dense coverage inside buildings and eventually in outside public areas - such as sports stadiums - where demand is high. This particular deployment will support LTE only. 
AlcaLu claims it has many more commercial deals in the pipeline (but can't talk about many of them). Telefonica, for instance, demonstrated indoor use of the tiny cells at this year's Mobile World Congress in Barcelona.
News of Sprint's plans confirms the likely role the small cell option is going to play as operators build out their LTE networks. As more and more LTE devices are put in the hands of users the load on the macro network will increase but, as always with access networks, capacity problems happen at specific times and specific places (and these may change over time as the built environment in which they operate changes).
The underlay option means that small cells can be deployed on an as-needed basis in particular places (and perhaps only be active for a set time) enabling mobile operators to stay ahead of the demand curve with steady, incremental small cell investments, perhaps involving a range of radio standards (WiFi in particular) as demand increases. 

Adobe Photoshop CS6 : 10 steps to create a poster illustration.

Posted: 07 Aug 2012 07:46 PM PDT

WorldWide Tech & Science. Francisco De Jesùs.

Ten steps to creating a poster illustration with Adobe Photoshop CS6

by Dan Carr from Adobe
Adobe Photoshop is a powerful design tool used to manipulate photographs and create illustrative graphics. Photoshop can be used for tasks as simple as applying color corrections to a photograph or as complex as combining multiple images and special effects into an illustration. If you are a photographer or designer interested in creating high-end designs for print, web, and mobile, Photoshop is a tool you cannot live without.
Photoshop CS6 introduces a range of performance improvements and tool updates, including new brush features with stylus support and improved photo editing filters and adjustments, just to name a few. Photoshop CS6 Extended now provides enhanced support for 3D text extrusion and video editing in the new Timeline panel.
In this article, I guide you through some of the main features in the Photoshop workspace and introduce you to a basic workflow for creating an illustration. The expressive features in Photoshop can be used for many possible workflows. This tutorial is designed to help you take your first steps as a designer. You'll build a poster illustration by combining photographs, an imported typographic element, and graphics created in Photoshop (see Figure 1). You'll also learn how to create an editable master Photoshop file using composite elements as well as how to set up the final design for both print and web.
Sample project
Figure 1. The sample project is composed of photographs, typography, and effects.

Step 1: Create a new file at print resolution

Design projects created in Photoshop use an editable master file called a PSD file. The PSD file separates elements with layers, saves color selections as masks, and preserves the ability to edit many of the effects applied to images and text. You can always return to the PSD file to make changes as needed.
Photoshop is primarily used to render bitmap graphics. Unlike vector images created in Adobe Illustrator or Adobe Flash Professional, bitmap images are composed of a grid of colors. The colors appear as dots side by side in rows and columns. The number of dots per inch (dpi) defines the resolution of the image. The higher the resolution, the more detail and clarity the image contains.
Tip: Photoshop CS6 introduces a new set of real vector drawing tools, enabling you to work with both photographs and vector shapes in an easy way.
Photoshop projects are usually created in high resolution at 300dpi for print design or in low resolution at 72dpi for web and mobile design. High-resolution projects produce a larger file size but enable you to publish for both print and web.
Tip: If you're working in 3D without bitmaps, you'll see the best performance if you start at a low resolution (150dpi or lower).
In this step, you'll create a new high-resolution PSD file.
Before you get started:
  1. Download the project files (ZIP, 5 MB) and unzip the archive. Save your published files in this folder and use the project assets to follow the steps in the tutorial.
  2. Download the completed project files (ZIP, 45 MB) to use as a reference. You can deconstruct these files if you run into problems.
  3. Download Photoshop CS6 and install the application if you haven't already done so. You can use Photoshop CS6 for all the steps in this tutorial except for Step 9, which requires Photoshop CS6 Extended. Step 9 demonstrates an optional enhancement that is not required to complete the composition.
Create a new file and get familiar with the Photoshop workspace:
  1. Open Photoshop and choose File > New to create a new PSD file.
  2. Enter the following information to set up the file:
    • Name: SampleIllustration
    • Width: 5 Inches
    • Height: 7.5 Inches
    • Resolution: 300 Pixels/Inch
    • Color Mode: RGB Color
  3. Take a moment to explore the Photoshop workspace (see Figure 2). The canvas is the white area of the screen that defines the boundaries of the image and the space in which you view and edit graphics. Tools and properties work together to enable you to paint, select, or otherwise manipulate your graphics. Layers and channels enable you to keep graphics separate and editable as well as save selections.
Figure 2. Get familiar with the Photoshop CS6 workspace (click to enlarge).
Tip: Use the workspace switcher pull-down menu in the top right corner of the Photoshop workspace for a preview of how the Photoshop panels can be configured for different tasks. Select the Essentials workspace for this tutorial.

Step 2: Import artwork

You can import photographs, artwork, typographic elements, and 3D objects in Photoshop to use as building blocks for the design. This is common practice when creating illustrations from composite images, and it's a great way to quickly create special effects and color themes.
In this step, you'll import two photographs and a typeset vector graphic for your design.
Import artwork for your design:
  1. Choose File > Place. Navigate to the clouds.jpg file in the project folder. Click the Place button to import the image. Note that the image appears with size handles. Use the handles to make the image the same size as the canvas.
  2. Import the sunflower.jpg image from the project folder. This time, scale the image to be about two-thirds the height of the canvas (see Figure 3).
Scale the sunflower image
Figure 3. Scale the sunflower image to be two-thirds the size of the canvas.
  1. Import the file. This file contains text set along a path in Adobe Illustrator. Position the text above the sunflower.
  2. Save the file.
At this point, you've imported the primary graphics for the composition.

Step 3: Work with layers to organize your artwork

Layers are an important component of the Photoshop workspace. They enable you to keep your content separate so you can edit each element individually. Layers are used to define the stacking order of the graphics in the image and to lock and hide graphics while working with overlapping elements. Layers can also be used to apply editable color corrections, filter effects, and masks to graphics. Photoshop CS6 introduces an improved Layers panel, enabling you to filter large stacks of layers by type and manipulate multiple layers at once. These improvements enhance support for drawing vector shapes by adding a new type of layer called a shape layer.
Keeping your content organized with named layers is an important best practice. Notice that the layers containing the imported images inherit the filenames of the images. In this step, you'll hide the imported images and add two new layers.
Prepare the layers for drawing:
  1. Click the eyeball icon next to each of the image layers in the Layers panel to hide the graphics.
  2. Click the Create A New Layer button at the bottom of the Layers panel (or choose Layer > New > Layer) to add a new layer. You'll use the buttons at the bottom of the Layers panel routinely throughout this tutorial. Notice that the panel includes controls for adding effects, masks, and adjustments as well as adding and removing layers and layer folders.
  3. Double-click the new layer's name and rename it Border.
  4. Add another new layer and name it Sky. Select the Sky layer and drag it to the bottom of the layer stack. Layers on the bottom of the stack appear behind other layers.
  5. Save the file.
At this point, you've created two empty layers that are ready for artwork (see Figure 4). Take a moment to get familiar with the controls at the bottom of the Layers panel.
Layers panel
Figure 4. The Layers panel shows the imported graphics plus two new layers.

Step 4: Work with tools to create content and navigate the design

The tools in Photoshop can be used for a wide range of tasks. For example, you can use the Pencil and Brush tools along with new erodible brush tips to simulate sketching or painting. Use the shape tools to create rectangles and ovals, and use the Text tool to create text. Use the selection tools to select areas by shape or color. Use the Clone, Blur, and Sharpen tools to correct damaged areas in an image. Use the Eyedropper and Pain Bucket tools to sample and apply color. And use the Zoom and Hand tools to navigate through your work at high resolution. You typically use these tools together to control the workspace and see the details of your images.
In this step, you'll add some simple compositional shapes to the illustration.
Draw a background rectangle and outline:
  1. Select the Sky layer in the Layers panel.
  2. Select the Rectangle tool. Notice that the Rectangle tool properties appear in the Properties panel. In Photoshop CS6, you can choose whether the rectangle shape has a fill color, a stroke (outline) color, or both. Click and drag from the top left of the canvas to the lower right to draw a rectangle. Notice as you're dragging that the new rich cursor feature shows you the width and height of the shape. The rectangle should have about a half-inch margin from the edge of the canvas.
  3. Select the Border layer. Draw another rectangle the same size as the first. Set the fill color to no fill, and set the stroke color to black with a width of 5 (see Figure 5). Notice that the rectangle shapes look crisp and clean due to the new Snap To Pixel Grid option. The Snap To Pixel Grid and Align Edges features snap the edge of the shape to pixel boundaries when you draw or move shapes.
  4. Save the file.
Figure 5. The rectangles are the foundation of the design.

Step 5: Work with selections, channels, and masks

Selections are another important concept in Photoshop. Selections enable you to isolate specific colors or areas within an image so they can be manipulated independently of other parts of the image. Selections appear as a series of moving dashed lines called marching ants. You'll most commonly create a selection using the Marquee, Lasso, or Magic Wand tool. When you create a selection that will be used repeatedly, you can save it in a channel. Channels by default appear as a black and white representation of the selection shape in the Channels panel.
Masks are another important concept. A mask is a selection applied to an image so that it appears to crop the image. For example, you can create a selection that isolates a person from the background and apply the selection as a mask. The result makes the background disappear as if it were deleted. The best part is that you can turn the mask off to see the entire image again or edit the mask as needed.
In this step, you'll create a selection, save it in a channel, and load the channel to create a mask.
Remove the background from the photographs using selections and masks:
  1. Select the Sunflower layer and click the eyeball icon to show the image.
  2. Select the Magic Wand tool (grouped with the Quick Selection tool). Hold down the Shift key and start clicking the blue areas of the sky to create a selection. Be sure to select as much of the blue as possible.
  3. Choose Select > Inverse to invert the selection so that it defines the area of the flower instead of the sky. Select the Rectangle Marquee tool, hold down the Alt key, and click and drag near any areas that you do not want to appear in the selection (see Figure 6).
Isolate the sunflower
Figure 6. Isolate the sunflower to create a mask.
  1. Choose Select > Refine Edge. In the dialog box, you can use several tools to refine the edge of the selection, including Contrast, Feather, and Smooth. You can also output the selection directly to a layer mask.
  2. Take a moment to experiment with the Edge Detection and Adjust Edge settings.
  3. Change the Output To field to Layer Mask and click OK. Notice that the background of the sunflower image is masked from view (see Figure 7). Also notice that the Sunflower_text layer now includes a linked mask. You can click the mask icon on the layer and open the new Properties panel to modify the mask or show or hide it.
  4. Save the file.
Sunflower photograph
Figure 7. The sunflower photograph now has the background masked out.

Step 6: Work with color and color corrections

Working with color and color corrections is a common task in Photoshop. You can sample colors using the Eyedropper tool, add editable color adjustments to apply corrections and create special effects, and blend colors across images using blend modes.
In this step, you'll add a gradient color effect to the rectangle on the Sky layer and blend the cloud image with it using a blend mode.
Create special effects using gradients and blend modes:
  1. Select the Sky layer.
  2. Select the Rectangle tool. In the Properties panel, click the Fill button and select the Gradient option at the top of the fly-out panel. This changes the fill from solid blue to a gradient.
  3. Double-click the color box below the left side of the gradient to launch the color picker. Enter the following RGB values:
    • R: 102
    • G: 175
    • B: 210
  4. Click OK to change the left side of the gradient to light blue (see Figure 8).
New gradient
Figure 8. The new gradient defines the rectangle's fill color.
  1. Change the color on right side of the gradient to:
    • R: 1
    • G: 44
    • B: 95
  2. Select the Cloud layer and click the eyeball icon to show the image.
  3. From the Blend Mode menu at the top of the Layers panel, choose the Overlay layer. Notice that the cloud image blends with the gradient.
  4. Save the file.
At this point, your graphics blend together nicely (see Figure 9).
Photographs with monochromatic color adjustment
Figure 9. The photographs appear to have the same monochromatic color adjustment.

Step 7: Modify images with filters

Photoshop is all about special effects. Perhaps the most fun way to create effects is to use filters. Filters are used to distort a graphic or change how it looks. For example, you can use the Twirl filter to give an image a twirled look, or you can use the Oil Paint filter to make a photograph look like a painting.
Tip: Photoshop CS6 introduces the new Mercury Graphics Engine, which provides faster performance for the new Crop tool, Puppet Warp, Liquify, Adaptive Wide Angle, Lighting Effects Gallery features, and the new Oil Paint filter.
In this step, you'll experiment with filters to add more special effects to the images.
Add filters to create effects:
  1. Select the Sunflower layer (select the image, not the mask).
  2. Choose Filters > Oil Paint. You can experiment with the settings or click OK to apply the effect. Note that the effect applies to the whole layer. You can toggle the effect on and off as needed.
  3. Repeat the process for the cloud image.
  4. Save the file.
At this point, the image is complete (see Figure 10).
Completed image
Figure 10. The completed image uses the Oil Paint filter.

Step 8: Work with typographic elements

You can create simple horizontal and vertical text elements directly in Photoshop using the Text tools. For more elaborate effects such as text along a path, you would typically create the text shapes in Adobe Illustrator and then import them to Photoshop for further embellishment.
In this step, you'll stylize the imported typographic element and add supporting text.
Paint the typography using strokes and gradients:
  1. Select the Sunflower_text layer to show the text.
  2. Click the Add A Layer Style button at the bottom of the Layers panel and choose Drop Shadow.
  3. Update the following settings:
    • Distance: 10
    • Spread: 15
    • Size: 15
    • Noise: 25
  4. Click OK. Notice that the effect appears on the layer so you can turn it on and off.
  5. In the Layer Style dialog box, select the Gradient Overlay option on the left. Click the gradient color from the Gradient Overlay options to launch the Gradient Editor. Choose the Orange, Yellow, Orange option from the presets or make your own gradient.
  6. Select the Stroke option in the Layer Style pop-up menu. Set the width to 8 and choose red or brown for the color. Click OK.
  7. Select the Text tool again and choose the following attributes:
    • Font: Book Antiqua
    • Weight: Bold
    • Size: 60
    • Color: Black
  8. Type the text CAFE and place it below the flower image.
  9. Right-click the Sunflower_text layer and choose Copy Layer Styles from the context menu.
  10. Right-click the CAFE layer and choose Paste Layer Styles. Notice that all the effects now appear on that layer.
  11. Complete the design with the last bit of text. Select the Text tool and choose the following attributes:
    • Font: Harlow Solid Italic
    • Size: 21
    • Color: Red or Brown
  12. Type the text Open Friday – Tuesday from 9am – 10pm and place it below the CAFE text. Notice that the text includes en dashes, rather than ordinary hyphens. You can add en dashes and other ASCII characters on Windows by using Alt-key codes. For en dashes, press Alt+0150 (Windows) or Shift+Option+hyphen (Mac OS). Save the file.
Tip: You can use the new Character Style and Paragraph Style panels in Photoshop CS6 to save styles for use between projects.
At this point, you've completed the poster design (see Figure 11).
Typographic elements
Figure 11. The typographic elements are painted with strokes and gradients.

Step 9: Add 3D elements for depth

Photoshop CS6 Extended enables you to extrude shapes in 3D. New updates completely overhaul the 3D workspace, making 3D features more intuitive, fun, and easy to use. This can be particularly useful when creating text elements that need to pop off the page.
In this step, you'll enhance the typographic element by extruding it.
Use the 3D extrusion feature:
  1. Select the Sunflower_text layer and choose 3D > New 3D Extrusion From Selected Layer. This step switches you to the 3D workspace where you can rotate the text, change the light direction and shadows, and so on. Click and drag the text to experiment with placing the text in 3D space.
  2. When you're happy with the preview, right-click the Sunflower_text layer and choose Render to render the object into high quality.
  3. Save the file.
At this point, the illustration is complete (see Figure 12).
Extruded text
Figure 12. The extruded text in the 3D workspace.
Tip: Check out Photoshop Dimensions magazine to learn more about working in 3D in Photoshop CS6 Extended.

Step 10: Publish for print and web

The last step in any Photoshop project is to publish the PSD file to a flattened image format. You'll keep the PSD file so you can edit as needed, but the original file is not intended for distribution.
In this step, you'll publish for both print and web.
Publish the PSD file:
  1. To publish for print at high resolution, choose File > Save As and choose a non-lossy format such as TIFF. Name the file and click Save.
  2. To publish for the web at low resolution, choose File > Save For Web. Choose an image format and change the width and height settings. The JPEG format is a good option for the web. Click Save to publish the image.
That's all there is to it! From here, you should archive the PSD file for future editing and publish as many variations as needed at 300dpi or less.

Where to go from here

Adobe Photoshop is a powerful tool for simple and complex image editing tasks. New 3D and video editing features open up new possibilities for just about anyone working in the creative field. Take some time to explore the 3D workspace features and the video timeline features, and think about how you can enhance your creative projects using the expressive tools in Photoshop CS6.
For more information about Photoshop, check out the following resources:

London 2012 : Overall Medal Count to August 7.

Posted: 07 Aug 2012 07:11 PM PDT

WorldWide Tech & Science. Francisco De Jesùs.

London 2012 : Overall Medal Count to August 7.

The London 2012  Overall Medal Count to August 7 at this time, goes as seen on the images below: (please click/tap on  three of them to enlarge the view):

NASA releases video and color photo,of Mars rover landing.

Posted: 07 Aug 2012 06:49 PM PDT

WorldWide Tech & Science. Francisco De Jesùs.

NASA releases video and color photo,of Mars rover landing.

NASA has released a low resolution video of the Curiosity Rover during the final few minutes of its decent to the Martian surface . Video silent.

Curiosity snaps the first color view of the north wall and rim of Gale Crater, where NASA's Mars rover landed Sunday night. The picture was taken by the rover's camera at the end of its stowed robotic arm and appears fuzzy because of dust on the camera's cover.

The color photo from the ancient crater where Curiosity landed showed a pebbly landscape and the rim of Gale Crater off in the distance. Curiosity snapped the photo on the first day on the surface after touching down on Mars Sunday night.
The rover took the shot with a camera at the end of its robotic arm, which remained stowed. The landscape looked fuzzy because the camera's removable cover was coated with dust that kicked up during the descent to the ground.
NASA celebrated the precision landing of a rover on Mars and marveled over the mission's flurry of photographs — grainy, black-and-white images of Martian gravel, a mountain at sunset and, most exciting of all, the spacecraft's plunge through the red planet's atmosphere.
Curiosity, a roving laboratory the size of a compact car, landed right on target late Sunday after an eight-month, 352-million-mile journey. It parked its six wheels about four miles from its ultimate science destination — Mount Sharp, rising from the floor of Gale Crater near the equator.
Extraordinary efforts were needed for the landing because the rover weighs one ton, and the thin Martian atmosphere offers little friction to slow down a spacecraft. Curiosity had to go from 13,000 mph to zero in seven minutes, unfurling a parachute, then firing rockets to brake. In a Hollywood-style finish, cables delicately lowered it to the ground at 2 mph.
At the end of what NASA called "seven minutes of terror," the vehicle settled into place almost perfectly flat in the crater it was aiming for.
"We have ended one phase of the mission much to our enjoyment," mission manager Mike Watkins said. "But another part has just begun."
The nuclear-powered Curiosity will dig into the Martian surface to analyze what's there and hunt for some of the molecular building blocks of life, including carbon.
It won't start moving for a couple of weeks, because all the systems on the $2.5 billion rover have to be checked out. Color photos and panoramas will start coming in the next few days.
But first NASA had to use tiny cameras designed to spot hazards in front of Curiosity's wheels. So early images of gravel and shadows abounded. The pictures were fuzzy, but scientists were delighted.
The photos show "a new Mars we have never seen before," Watkins said. "So every one of those pictures is the most beautiful picture I have ever seen."
In one of the photos from the close-to-the-ground hazard cameras, if you squinted and looked the right way, you could see "a silhouette of Mount Sharp in the setting sun," said an excited John Grotzinger, chief mission scientist from the California Institute of Technology.
A high-resolution camera on the orbiting 7-year-old Mars Reconnaissance Orbiter, flying 211 miles directly above the plummeting Curiosity, snapped a photo of the rover dangling from its parachute about a minute from touchdown. The parachute's design can be made out in the photo.
"It's just mind-boggling to me," said Miguel San Martin, chief engineer for the landing team.
Curiosity is the heaviest piece of machinery NASA has landed on Mars, and the success gave the space agency confidence that it can unload equipment that astronauts may need in a future manned trip to the red planet.
The landing technique was hatched in 1999 in the wake of devastating back-to-back Mars spacecraft losses. Back then, engineers had no clue how to land super-heavy spacecraft. They brainstormed different possibilities, consulting Apollo-era engineers and pilots of heavy-lift helicopters.
"I think its engineering at its finest. What engineers do is they make the impossible possible," said former NASA chief technologist Bobby Braun. "This thing is elegant. People say it looks crazy. Each system was designed for a very specific function."
Because of budget constraints, NASA canceled its joint U.S.-European missions to Mars, scheduled for 2016 and 2018.
"When's the next lander on Mars? The answer to that is nobody knows," Bolden said in a recent interview with The Associated Press.
But if Curiosity finds something interesting, he said, it could spur the public and Congress to provide more money for more Martian exploration. No matter what, he said, Curiosity's mission will help NASA as it tries to send astronauts to Mars by the mid-2030s.