bizbeblu

iPad Photo (current version) review. Warning. This is a long and not particularly favorable review. It has been written and re-written a number of times over the last 2 months. This analysis comes after 4 months of extensive use, largely brush/paint/sketch. I use it at least 5x weekly for as many as 3 hours at a time. I'm still amazed at how many tools I haven't figured out how to use. (I'm not going to comment on the "help" pages.) Grade: C- iPad Air (3rd generation) running iOS 13.7. Will not move to v 14.x anytime soon. Bonafides Owned one of the first 50K Macintosh. It was my 3rd "micro-computer." Extensive work across multiple OS. Most recently as a professional photographer, I have used Ps since v 1.0. I like Affinity. Have purchased every program they've produced. Use Design some, Publish extensively. Such an improvement over Illustrator and InDesign. Can't give up Ps or Lr. The first because I'm trapped in a long "abusive" relationship. The second because there are no alternatives. Believe me. I am not a fan of Adobe's products, prices, capabilities, interfaces, nor their utter arrogance. All developers have two responsibilities to their clients. One: Do no harm. Protecting data is absolutely the first task. Failure to do so renders a program worthless. Second: Value to the client. Must be useful, predictable, repeatable. It always works the same. Data protection: Regularly lose work when leaving Photo. Many times (most) have switched to another program, came back to my Photo work, and last session's changes are gone. I didn't close the program, simply switched away. And it's unpredictable. Photo loses/deletes/forgets - whatever - work done often. Literally and regularly, I'll be working on a piece, stop to say check a text, return, and the entire session is gone. I have left Photo in its current state, not closed, just in the background, while doing something else on the Pad. Switch back? Poof. I've learned to manually save before I leave the program. And while we're at it, why is there no save, save as choice in the menu system? I guess export = save? Awkward and export ≠ save. This is not acceptable. I'm now going to the catalog and manually saving. Also, repeated utter failures: flash, colors - gone 4x+ times. No other program on htis Pad has any problem. Then there's the wildly varying activities of Photo program when I recall it. Occasionally the work pops right up. More often it labors long trying to remember what, who, where it is. Usability: Bluntly, an abject failure. Palm rejection fails. Always but unpredictably. No matter the settings, I can't fix this. I run almost exclusively in no side bars mode. I always use a pencil except for undo. I know for a fact that Apple has greatly improved the pencil/palm routines. Why haven't they been implemented? (Multiple settings experimented with. Nada.) Unpredictable. Brush settings are never saved. Photo's totally unpredictable. When returning the previous state/setting of any tool and the whole environment is a crap shoot. Another big one. Slide out menus for Brush, Color, etc., are never the same. When you select one, the menu is different on return. One has no idea what classes are available. Worse you can't see all the choices. Every menu/option/choice must ALWAYS be the same. There is absolutely no excuse for this failure. If you want more in the window - make it bigger or collapse categories. Affinity has failed to implement a critical but simple and fundamental algorithm. When the user selects anything, that choice must be read and written to that tool/state register. When the tool is re selected it should, without fail, come up with previous setting no matter if program has exited. This is a trivial thing to do, though it does require re-programming every tool/state call. Whenever a tool, e.g., brush is selected, it comes up at maximum size and opacity. Always. The tool should return in the prior state. No exception. This is, bluntly, lazy programming. Example: If the same brush - say a masking brush, small, hard - is used in three different ways, e.g., paint, erase, brush erase, the program doesn't save the brush state/choice for each separate tool. It returns the state of last brush size/use regardless of tool switched to. I regularly employ all three brushes at the same time. Each has different properties (Color, size, opacity, etc.) So, what I get is in the middle of intensive use when switching to a different tool with the same brush, the settings are wrong. Infuriating. Additionally, if one selects a new color and then selects the brush, color reverts either to the prior one or to default black/white. Are you kidding me? These but a few of the crazy things in this program. Random thoughts: Can’t do clone select with Apple pencil. This has been a criticism repeated in this forum. Too many steps to use basic tools e.g., copy, paste. Example. Copy/paste. Tap Selection persona. Chose select tool (with unpredictable differences in actions.) Select options from menu. Select (again key parts of select don't work as I think they would.) Then back to Photo persona. Choose from Photo tools copy/paste two layers down. Paste. Then return to Select Persona to release selection. What? Summation: inconsistent, unpredictable, unrepeatable, data is not safe. Please fix. We don't need more "features." We need the existing tool/interface to always work the same. Will keep using, but recommending? Your competitors are improving fast and I do not suggest Photo to non-sophisticated users. Thank you for listening. Any/all discussion suggesting information, correction, insight, or even pointing out my own idiocy are greatly appreciated, indeed requested. I've never had so much problem grokking a graphic tool. Robert Sorrels

Okay, it's getting clearer. I fear even after all these years, I'm still hazy about the mask in particularly the clipping mask, and it's not like I haven't read multiple tutorials on the subject. ProD, for the help. My process understanding. You started with a red slash. Created a pixel mask (clipping mask?) and back slashed (in black?) the original layer. You then added a second layer with the blue blob. Another mask with black dots. Both layers show the results of the masks/actions. Now, from experience I've learned that I can edit the blob without affecting the slash. But… I'm need to then edit the slash layer without bothering the blob. Haven't worked out how to do that. Here's a quick example of the problem. First file is original (An example of our fine housing.) Second is the BW rendition of the original. Then is final rendering in iPad Photo. Last a screen shot (from Ps) of the BW file in process. with layers deleting/inserting sky. Turns out one can't export a pix w/o a background, so I had to delete sky again, then import the new cloud layer, then finish it. Also haven't figured out how to do a screen select copy. I'm finding Photo selection to be superior to Ps. Nice improvement. I'm also discovering that a lot of the Photo tools are superior. My only critique of the process is that I find Photo's BW rendering rather lame. Perhaps I haven't explored it enough, but will say that I hate anyone else's filter. So final question. With this layer arrangement I can edit the sky (lower) without harming the shack (upper). If I want to edit the shack pix, e.g., paint it, I can't protect the cloud layer. Is there anyway to do this? Last final question. Would someone please direct me to a discussion of how to set pressure/response sensitivity? I'm using a pencil and find that it's taking as many as 4-5 taps to say select brush size. I basically can't manipulate layers except with finger. Frustrating and more so for some of the people I'm working with. They can handle a pencil, but arthritic changes make finger pointing difficult. To all, thanks again. Robert

Ah, Hah! DM1, thank you much for the illustrations. Not only did they provide a nice remainder of mask/clipping mask but the attached pix show, what for me, was the critical information. The key is the fact one must press and hold to select then do that bit of wiggle dance to separate move a layer. And bright light moment was seeing the horizontal and vertical bars you illustrated. Just had never seen that. Using an Apple pencil makes it harder to "grasp." Don't get me wrong, love the pencil. I'm stunned to watch the infinity gurus whip that stuff around with their finger tips. Shakes his head and there lays the tale. So many things I like about this program. So many frustrating interface details. Select is good becoming great and I know I haven't gotten it right. RAW development is not bad. I suspect I haven't delved in deep enough. Seems a bit to automated. The up to 7 step tango to do a simple thing such as select, then delete selection is irritating. Still can't find a way to protect each layer as I work on the other. But this program has lots of nice stuff. A note to the brass. I've bought everything you guys have ever produced. I use Design and now Publish as my main tools in each field. Bought the design book and now publish. Was absolutely blown away when it arrived in two days. Amazing. Both books are beautiful and the projects challenging. My only critique is that you brush too fast over the "interface" and don't really offer operational details. My guess - from the times that I taught/did interface design at the UWashington School of Engineering. The engineers, programmers, makers, are writing the help. To knowledgeable and sort of skip over key actions because they are instinctual. Again, thanks much. Oh, the preference panel under tools has a linear chart for touch pressure. Does pulling the line up make tool require harder pressure? Down less? I'm finding with an Apple pencil that I'm having to tap 3-4 more to open things like line size and opacity. Also rate of change when attempting to any set anything (drag across a button right/left) is non-linear. Frustrating. Thanks again. Note if anyone from Affinity is watching. I've completely underestimated just how different a pad/tablet interface is from that of a current desktop computer. Not sure how to adapt. 50 years of doing things with files and mouse… Well onward thru the fog. Robert

DM1, nice pix of an old "English Village." A former girl friend of mine from Wellington NZ once told me, "Nothings more English than a Kiwi." Don' think that's quite as true in Oz. Still struggling with masking/clipping. I’ve got the “place file” (on a new layer) working. Thanks. Twice I’ve been able to move the background up and clip the new layer but can’t predictably repeat no matter how carefully I work or many times I try. Failed process Open new image from Cloud PhotoPersona -> Place (additional) new image (from Cloud) Drag over original So, there it is - new layer with 2nd image I can’t seem to “release” either layer unless I click on Photo -> or such command. The two layers remain “bonded” or move together. The minute I try to “mask” or move or any operation in the layer panel, they can’t move independently. Just tried again. Opened new image from cloud Went PhotoPersona -> 3dot ->Place Select new (second) file. Follow instructions to “spread” the new 2nd image over 1st. That done, I have 2 layers with the 2nd one on top of the original Then I’m stuck. I cannot get the this new selected/spread out layer to release no matter what I do. Have tried every way I can think of to get them loose from each other, including switching to Selection Persona -> 3dot -> Deselect. Also, PhotoPersona -> 3dot -> Pasteboard ->Paste. No joy. Behavior of layers doesn’t change no matter what I’ve tried. My guess? I know how to do this in Ps, but there’s some subtle something in Photo that makes all the difference. Enlightenment appreciated.

Okay, got the lock - perhaps it needs a different or more precise name? To me, lock means can't touch. Am I alone in this? Now, working on a piece. Got the sky. Still having to fiddle about a bit, but finally moved the original layer above the new cloud layer. I then said mask it. Befuddled me a bit till I realized I'd not erased anything on the masking layer so duh, couldn't see anything. Finally got that figured out so on to selection. Does it really take this many steps? Proper layer selected Tap selection icon Tap "smart selection brush" from left menu side. Carefully begin moving selection brush about. Can't get precision I need, but still learning? Ready to cut out the selected piece. With ants marching, change persona to photo. Click the 3dot . . . Select pasteboard -> cut Change back to select persona Back to 3dot -> deselect. Then reselect the "smart" Begin anew. Slow. Got to be a better way. Trying to "refine edges" overlays everything in red. Move cursor about. Click go. No change. Flood selection doesn't seem to do anything. Sigh, I'm obviously not holding my mouth right. Again thanks. And yes Pro, at it when there when Ps had no version number. Also Pagemaker. Had the rare distinction of submitting the first digitally produced/printed dissertation in University history to the little old lady who made sure the format was correct. She was a legendary curmudgeon. Doc students were terrified of her. "Your margins are 1/4" too wide." Went home to my "skinny Mac," changed margins, down to friend with the LaserWriter, reprint, showed up at her door. She wasn't happy to see me. Handed her the document - ≈240 pages, see gazed at it wide eyed, "How did you get this typed so fast?" Shrugged, "Didn't. Printed it out on a laser printer." With a horrified look she squawked, "The format specification clearly calls for a typewritten document. This isn't." "No," I said. "It calls for a document with this font - Courier 9 point - and with this layout. Not a word about a typewriter." Took a couple of days, but wasn't a thing she could do. You have any idea how much money I saved not having type/retype/type/retype? Having engaged in a bit of "back then," I've just started using Publisher. Outstanding. Worlds - no universes - improved over the original, and no MafiaRent. Done two small projects will do many more.

Knew I was going to be right dumb! Wow. Thanks. Talk about service. I know I've successfully done that in the past, but I often figure a thing out then push on with the project w/o stopping to consolidate what I've learned. Okay, got the cloud background in place for the ladies - they really love sitting there in isolation. "It's like I'm in kindergarten with a coloring book and a huge set of crayons, except I NEVER MAKE A MISTAKE!" The sky pix arrived in a new layer. It was above the foreground (labeled background by the interface.) i.e., the original file. Had to carefully move it up - layer manipulation seems rather picky. Fiddled aabit moving original layer above the import, selected mask, and I can paint the BG - that is the imported layer - without touching the foreground. When I try to do the reverse - paint original image without infringing on the sky it fails, i.e., the lower/masked sky isn't protected. Tried setting lock with no joy. Yes, I've selected the proper layer. Do I have to release the first mask, reorder the layers, set a new mask to protect it? Thanks much. Oh, and exactly what does "locking" do for the layer? I've come across it in the tutorials but narrator goes past without showing result. Robert

Okay, I know I got here on the short bus, but this is driving me crazy. I cannot, in Photo iPad, open/import/place or whatever a file into a current project as a new layer. Past that, I'm not getting masking down right, and finally how do I protect a layer so I can work on another one without affecting others? I've known it as an "alpha lock" in other applications. Here in each layer one can choose "lock" -big red icon. Doesn't seem to do anything. Seriously, I've searched, watched, read all the official stuff on iPad photo. Simply don't see it. Also checked elsewhere. There are multiple "You're a newbie so we'll help you out." Yet not a one of them addresses these questions - or if they do I've missed it. I suspect a large part of my problem is that after 20 years of extreme combat with Ps, that's how I think things are done even though much of Ps demands are lame and/or stupid. The software you can work is better than the unknown you have to learn. (Similar to the sentiment: The spouse who beats me is better than an unknown.) I'd like to say that's not true, but… shrug. I will remark that in Affinity's direct competition - Procreate -this is a breeze. Had to fuddle for a bit but straight forward. Photo is much more powerful and precise, but if I can't master the layer - well can't use the program. Won't go into detail as to why this is time critical other than to note it's part of an effort to keep our little town's old folk alive. Thanks for any assistance. Robert Ajo, AZ

FWIW. I've recently had the latest iOS Design crash twice on a current iPad Air 3. Almost an unheard of thing on iOS. Finding the app less than completely stable.

Ditto. Posted in another thread on this exact issue. Even with gestures only set, I get wildly varying responses from the screen if I put my palm on it. I won't mention another iOS graphics program ($8.99 USD) that is dramatically better at this. So, Affinity, have I missed something?

Ditto this question. I'm new at it, but find the here/gone/back/where are you? interface absolutely insane. I want to go into and stay full screen until I deliberately chosen to leave. I've set the preference to use the pencil and the fingers only for canvas move/expand, etc. Still, the program will jump to vector while I'm trying to work pixel. In fact I only work in pixel. Why would anyone set up an interface to instantaneously jump from one to the other? Can't imagine a huge need for that. The right studio bar pops up all the time and can only be put away by clicking the button noted above. Oddly my palm moving towards the rt bottom corner will cause the bar to appear, but I can't find anyway to wiggle that will make it go away. I like this program, but am real frustrated. I hope I'm not being told that I can't put my palm on the screen. 24 years of public education has ensured that I can't write/draw any other way. Oh, and I have searched about in the help (am not impressed with the quality of the help files) and can't find much. I've used other iOS programs that have a "palm protection" setting. Has Affinity.serif really not implemented this? Sorry to rant, but am increasingly frustrated with this program. I have all of this company's software and use two of them extensively - design and publisher. (OS X) So please help me out here. (Oh, and while I'm at it, the eyedropper in the color wheel doesn't pick up existing color no what I do. Was that intended?) Current iPad Air 3.0 and Apple Pencil. OS and Design programs are current.

Very simple but so needed request. The transfer bar (or whatever its proper name is) that advances photos by grabbing with mouse or table pin is simply too narrow. Particularly with a pen it's a 50/50 chance you'll get the bar rather than moving the window. Can't imagine this would require a lot of programming but would be invaluable to many of us. Thanks Robert Sorrels Ajo Az

Okay, I admit it. I'm a long term user of Ps, as in when it was just Photoshop - no number. I'm a professional photographer both as a newspaper reporter/photographer (mostly high school sports) and make a decent living selling "art" photos which cover a wide variety of subjects, but do focus on the Sonoran desert. I've paid for my knowledge of Ps with as Churchill said, "Blood, Toil, Sweat, and Tears." I use the program on a daily basis (along with Lr). In truth, the program is an utter beast - no an ameba - no the rising flood - no, I've got it: The Borg. "Resistance is futile. You will be assimilated." Over the years Ps has become a monstrosity built on an ancient foundation. The program has never been rewritten from the ground up. Yet, now it has literally everything including the kitchen sink while promising to make you tall, good looking, rich, and sexy. Oh, and it will make you a great photographer! The greatest drawbacks to Ps are twofold. First is performance. It has never really embraced modern processors. Yes, it acknowledges multiple cores and there as been some work with threading, but let's face it: the program is a slow dog walking. Second is usability and the user's experience. I can't tell you how many times I can't do a thing I'd just done because some tiny alteration has been made that prevents the operation from taking place. No other piece of software has ever induced as much profanity from me as Ps has over the years. (Well, there was SAS, but that's a different saga.) I know my current knowledge of APhoto is skimpy. As the old saying goes, "When you're up to your a** in alligators, it's hard to remember you were draining the swamp." I know that most of the things I need are in the program but things are arranged in different ways and oft times called something else. I understand the need for this as I strongly suspect that Adobe employs more lawyers than the entirety of AffinitySerif's staff. So what do I want from Affinity Photo? (1) First and foremost - FASTER. The RAWs get bigger, the transformations more complex, and everything needs more horsepower. I fervently hope Affinity makes sure every release improves performance. Multi-core, hyperthreading, prefetch, etc., etc. (2) Always look to a cleaner and more coherent interface. I've been a programmer in my long ago and guilty past. Programmers know how to do everything. We mere users? No software vendor should ever release a program without extensive vetting by knowledgeable users. Listen to them and make changes they suggest. I see demands for HDR, panorama, RAW conversion, stacking, focus repair, perspective correction, ad infinitum. Photo should stick to photos, the core place where the photographer first turns to examine and begin work. It must become a host for the multitude of plugins that make the photog's life easier. Work with other vendors. Make it easy to plug tools in. Actively seek them out. Evangelize. We need the plugins. I've tried to install plugins in AP without success. Even after reading the help, I still get a list of questioned plugins that when called freeze the program. APhoto, become a host to the many wonderfully specialized tools that make our life easier! MacPhun has several excellent tools. I still use the old NIK tools, particularly SFX and Viveza. Topaz's tools vary, but several are good. You can work wonderful HDR with several tools. Same with panorama, stacking, B&W emulation with ASA grain qualities. DXO has the best perspective correction tools, and their RAW converter is hands down far better than anything on the market. So no, I'm not an expert with Affinity Photo. Yet. Intellectual inertia is a terrible thing, but when up against the clock I don't have time to learn something new, different even if it is better. Yet I will. I hate living under the tyranny of the Adobe universe. (No, I've not bought into the "Mafiaware" program.) I want, I need Photo to succeed, brilliantly succeed! I'm going to become your evangelist, propagandist, expert, an inveterate user. But to get me, you must always be dedicated to quality improvement and, please "stick to the knitting!" Robert Sorrels Ajo Az

I'm about to upgrade my Mac. It's been over 3 years and the price/benefit ratio - at least as I calculate it - is about three years. My question is, I hope, fairly simple. Since Aphoto can only be downloaded from the App store (not my favorite thing) it appears I have no serial number, activation or any such device. I have my work drive backed up to a bootable clone on an external drive. I suspect just plugging it into the new machine and cloning back isn't going to work. So do I just download again? Pay again? I don't think I have any other app store only applications, so am wondering how this is dealt with. Thank, Robert Sorrels Ajo Az