That Peace ad blocker affair

Tech Life

I’ve been debating whether to write something about this or just let it go (because part of me still thinks the whole situation deserves more indifference than attention). I shared my reactions over Twitter while the general debate was unfolding, and I thought about writing a post in the heat of the moment. Which is usually a bad idea, so I waited a few days, let the whole affair cool off, and if in the meantime it stops bugging me — I thought — maybe I won’t even bother publishing anything.

But here we are. 

I’m writing this assuming you know what I’m talking about, but in short: when iOS 9 was officially available to the general public on September 16, developer Marco Arment announced his new app, Peace, a “privacy-focused iOS 9 ad blocker.” Then, two days later, right when Peace was experiencing an incredible success (number one paid app in the U.S. App Store), he unexpectedly pulled the app from the App Store. The reason: for him, that much success, that much money made selling a tool which, as he wrote, “while [ad blockers] do benefit a ton of people in major ways, they also hurt some, including many who don’t deserve the hit,” ultimately did not feel good. You can imagine the subsequent debate. If you can’t, believe me, it’s been ugly. The core of the ugliness, I think, has been that many people suspected there was more behind Arment’s decision than he was letting on; that perhaps he was driven to withdraw Peace by some of his friends who put ads on their websites, because Peace could hurt their business; or that Arment was even offered money by ad providers to remove his ad blocker.

I don’t know. I admit it’s been tempting to give in to such suspicions. After reading an article like The ethics of modern Web ad-blocking, where Arment writes:

I’ve never been tempted to run ad-blocking software before — I make most of my living from ads, as do many of my friends and colleagues, and I’ve always wanted to support the free media I consume. But in the last few years, possibly due to the dominance of low-quality ad networks and the increased share of mobile browsing (which is far less lucrative for ads, and more sensitive to ad intrusiveness, than PC browsing), web ad quality and tolerability have plummeted, and annoyance, abuse, misdirection, and tracking have skyrocketed.

Publishers don’t have an easy job trying to stay in business today, but that simply doesn’t justify the rampant abuse, privacy invasion, sleaziness, and creepiness that many of them are forcing upon their readers, regardless of whether the publishers feel they had much choice in the matter.

Modern web ads and trackers are far over the line for many people today, and they’ve finally crossed the line for me, too. Just as when pop-ups crossed the line fifteen years ago, technical countermeasures are warranted.

After reading such an article, I wasn’t surprised at all that Arment would develop something like Peace. It felt like a natural step: he saw a problem and he wanted to do something about it, in this case developing a tool which could help people mitigate that “rampant abuse” and “privacy invasion” perpetrated by so many ads and trackers.

With this context, Arment’s change of heart feels like a rushed backtracking, a total volte-face, and while I’m not questioning his sincerity, at the same time I can understand why many considered it suspicious. In his post Just doesn’t feel good, Arment writes:

Achieving this much success with Peace just doesn’t feel good, which I didn’t anticipate, but probably should have.

[…]

Even though I’m “winning”, I’ve enjoyed none of it. That’s why I’m withdrawing from the market.

It’s simply not worth it. I’m incredibly fortunate to be able to turn away an opportunity like this, and I don’t begrudge anyone else who wants to try it. I’m just not built for this business. 

I’ll be honest, I find hard to believe that Arment didn’t anticipate Peace’s success and, above all, how Peace would be employed and the impact it would have — it is an ad blocker after all. It doesn’t seem to be a product that was developed in a rush and on a whim, either. It’s evident by what Arment wrote in August that he was fed up with how ads are served on the Web nowadays. During a conversation with some friends on the day Peace was removed from the App Store, I said that it was as if someone had launched a new brand of cigarettes only to withdraw the product shortly afterwards because they didn’t anticipate people would become addicted or that the product would increase the possibility of suffering from lung cancer. It’s a very strong image, I know, but the point is: when you manufacture a product whose usage and purpose are so transparent, it’s hard to believe you didn’t anticipate the consequences or implications.

(Brief aside on the subject: to this date, the best article written about Arment is, in my opinion, Marco Arment and Context, by Jonathan Poritsky.)

Anyway, I have often prided myself on offering fair and balanced commentary here, and everything I’ve written above is pure speculation. I’m not here to question Arment’s sincerity — I don’t know him personally, I’ve never interacted with him in any way, I don’t have the facts and the background; only what he writes publicly. I’m not here to insult him gratuitously, either. 

The simple criticism I want to provide is that, in my opinion, Arment acted unprofessionally, and the precedent he’s setting is that of an unreliable, volatile developer. Peace uses Ghostery’s database to work, and there was an arrangement with Ghostery in place (“I’ll make and sell the app and give them a percentage of the revenue.” – Arment wrote in the post announcing Peace). Deciding to pull the app from the store was something that affected Ghostery as well. Sure, it may have been a joint decision, as Arment writes, and there may be no hard feelings on Ghostery’s part, but this only goes to show how those who acted professionally — considering the whole situation — have been the people at Ghostery. They gave Arment full and prompt collaboration so that Peace could be launched on the same day as iOS 9, and they agreed to pull the app two days later. It’s safe to say that, if different parties had been involved, probably some suing would have ensued. But Marco now has given Peace to Ghostery, I hear you object, he’s been a gentleman. No, under the circumstances, giving Peace to Ghostery was the least he could do, professionally speaking.

Another thing I find unacceptable with hindsight is that while Peace and other prominent ad blockers were ready to launch on day one of iOS 9’s release, other indie developers like the people behind Silentium were hurt because their app was still in ‘Waiting for Review’ status. The removal of Peace might turn out to be beneficial for other competing ad blockers, but for people like Silentium’s developers it must have been especially bitter to see that Peace got precedence and launched on day one, got a lot of attention and business, only to disappear shortly afterwards. It feels a bit unfair. 

Now Apple is proactively refunding all purchases of Peace, which is something that, as Arment himself admits, “effectively never happens.” Apple has the power to do what it wants, of course, but this preferential treatment annoys me — not because it’s Marco Arment, as I have nothing against him personally — but because it simply should not happen. All developers should be treated equally, for better or worse. The App Store should be a place where the big fish and the small fish have the same chances at succeeding (or failing). No fast tracks or preferential treatment because you’re a big company or a prominent indie developer.

[Final disclaimer: I did not purchase Peace, not because I didn’t want to, but because my iPhone 5 and iPad 3 do not support Safari content blockers. So I haven’t written this article from the possibly biased perspective of a customer who purchased Peace and ‘got burnt’, so to speak.]

Keyboard shortcuts in iOS 9 bring back memories

Software

Although my aging third-generation iPad cannot support most of the cool features introduced in iOS 9, I’m very satisfied with one big improvement — the handling of external keyboards. When I talked about my experience using the iPad as a laptop with my Apple Wireless Keyboard, I expressed my main frustration: “generally poor key mapping and user-interaction obscurity.” Here are a couple of bits from that article, written in December 2013, where I offer a few suggestions to improve user interaction:

But the best keyboard shortcut Apple could implement when using an Apple keyboard with iOS devices is, in my opinion, Command-Tab to activate the multitasking interface.

[…]

As for the user-interaction obscurity I was mentioning before, I had to discover certain key mappings by blindly trying out different keys. This way I found that the Eject key shows/hides the virtual keyboard, and — more importantly for those like me who use different international keyboards — that Command-Space switches from one keyboard layout to the other (and here I thought it could be used to quickly invoke Spotlight, like it does on Macs…). 

Imagine my joy when I heard that Apple has in fact implemented the Command-Tab keyboard shortcut to invoke the application switcher exactly like on the Mac, that now Command-Space does in fact trigger Spotlight, and that most of the user-interaction obscurity vanishes by pressing and holding the Command key. By doing so, in fact, a panel will appear in the middle of the screen with a summary of the recognised shortcuts. 

Safari keyboard shortcuts in iOS 9

This is Safari, but different apps may have different recognised shortcuts. Just open an app, press and hold the Command key, and see if such a panel shows up and what it provides.

Now, as a long-time Mac user, there’s another reason this user interface detail makes me happy: it’s the exact implementation we had on the Newton back in the 1990s. When you attached the dedicated Newton keyboard to a MessagePad 2000/2100 or when using the integrated keyboard on the eMate 300, by pressing and holding the Command key, guess what happened:

Newton keyboard shortcuts

These are the general, system-wide shortcuts. By pressing and holding the Command key from inside an application, there are more options (this is the word processor module in Newton Works, a sort of Office-like suite for NewtonOS):

Newton Works shortcuts

 

It’s great that the same concept has been reused 18 years later. Good ideas survive and can resurface in unexpected ways.

Impressions on the Apple 9/9 event — a numbered list

Tech Life

Apple Blue  White

Yesterday Apple delivered a great, well scripted, well presented event and introduced a lot of new things. I’ll certainly expand on some of the following notes in the next days, but I wanted to share a general, quick overview in form of a list of ‘thinking aloud’ bits. The numbering only serves as a reference in case you want to give me feedback on specific observations.

  1. I wasn’t very interested in the Apple Watch-related news, because at the moment the Apple Watch is the Apple product I’m least interested in, but the Hermès combination of straps and watch faces looked gorgeous and luxurious. And the AirStrip app for doctors truly showcases the potential of the Watch and the platform. Really cool stuff.
  2. The iPad Pro has truly got me excited. While I dislike phones with too huge a screen, once we move to tablets and computers, I really like big screens because I just work better with more screen real estate. I’m still very satisfied with my iPad 3 and so far I’ve never felt the urge to update to a newer iPad. But now I know that, when the time comes to update, my next iPad is definitely going to be the iPad Pro.
  3. The Apple Pencil is an amazing accessory. All the talk and sarcasm about Apple making ‘a stylus’ is missing the point. The Pencil is so much more than a simple stylus, and it’s also a very specific accessory for sketching and drawing. I don’t think it can be used in substitution of a finger to generally interact with the user interface like other styluses that have big, soft tips. As for the Pencil’s specific tasks — sketching, drawing, writing — from what I’ve seen in the videos and read in the various ‘hands-on’ articles on different tech sites, the Pencil has a ‘real pencil’ feel when in use. I truly can’t wait to test it.
  4. Seeing people from Microsoft demoing software on stage at an Apple event made me smile, for historical reasons. When the guy said “A beautiful Microsoft Word document” I had to laugh, though.
  5. I enjoyed the Adobe demo. The Adobe Comp CC and Photoshop Fix apps look like great additions for a device like the iPad Pro and I really liked the workflow as demoed by Eric Snowden.
  6. Speaking of the Adobe demo, I couldn’t believe the fuss that was being raised on Twitter and elsewhere for the bit about making the image of the female model ‘smile more’. Every photo of every male or female model that goes on a magazine cover gets retouched, so all the talk about sexism felt a bit exaggerated to me. I once witnessed how heavily a model’s photo was retouched for the cover of a fitness-oriented magazine — the graphic department changed the skin tones, altered the curve of the breasts to make them appear slightly smaller, changed the model’s eyes colour and whitened her teeth… In a nutshell, the ‘before’ and ‘after’ photos were so strikingly different it didn’t even look like the same person. I was told more than once that this practice is rather common, and it’s not limited to photos of female models either. Slightly altering the model’s lips in the Adobe demo was, in my opinion, just a quick way to showcase how powerful Photoshop Fix can be.
  7. Seeing the Apple Pencil in action, I couldn’t stop thinking about the Newton’s handwriting recognition. With this tool and this iPad, it would really be at home. (Sigh)
  8. The Smart Keyboard for the iPad Pro, however, didn’t impress me much. Frankly, the one aspect that did impress me is the price. Now, I know that Apple has never really made cheap accessories, but while I feel that $99 for the Apple Pencil is somewhat justified given the technology packed inside that small device, $169 for the Smart Keyboard feels too expensive. I believe one could spend less by purchasing a decent cover and an Apple Wireless Keyboard, and end up maybe with a slightly less integrated setup, but a better keyboard. When the time comes for me to update to an iPad Pro, I’ll certainly get the Pencil, but for writing I know I’ll keep using my Apple Wireless Keyboard and the Incase Origami Workstation, whose design is efficiently device-agnostic. (If it can sustain a 652-gram iPad 3 in portrait orientation, I’m sure it can work with a 713-gram iPad Pro in landscape orientation.)
  9. Everything about this new Apple TV feels right. And for the first time, Apple TV feels like a compelling device to have. More useful, more versatile, more interactive. John Gruber, unsurprisingly, nails it: On first impression, it is everything I wanted to see. It sounds like a small talented team got to build the Apple TV they wanted to see and use themselves. There is a clarity and vision to the entirety of its design. I think it exemplifies the best of Apple. And: I think Apple TV might be the most disruptive product from Apple since the iPhone. Not the most lucrative, necessarily, but the most disruptive — in the sense of defining how all TVs will work in a few years.
  10. One thing to note about how the TV experience will be transformed, about the future of TV, etc. — That we’re entering a new era of people potentially spending hours and hours sitting in front of their TVs. And it’s going to be, you know, a bit like the old days… 
  11. The new iPhone 6S (which sounds like “iPhone success” when you say it out loud) and 6S Plus have the same exterior design of the 6 and 6 Plus. And when I see those lines in the back of the phones, visually separating the top edge, the centre, and the bottom edge of the chassis, I’m reminded of how awful they look. I know the change of material in those parts of the phone was necessary for the antennae, etc., but I still believe Apple could have made them more visually subtle, blending more with the aluminium finish. Also: that camera bump.
  12. 3D Touch: it’s of course a great feature, and the tasks it carries out, the way it integrates with iOS 9, is all really smart. On Twitter I said that 3D Touch is a sort of right-click for Multitouch, as it usually invokes contextual features and menus. I admit I wasn’t convinced at first, thinking that, interaction-wise, what you can do with 3D Touch could be equally achieved by long-presses. But it’s a short-sighted observation, first because in iOS there are already long-press gestures in place, and adding more on top of them would be confusing and generally a terrible idea. Secondly, as it has been pointed out to me on App.Net, 3D Touch and the Taptic Engine are a great opportunity to refine and extend accessibility features on iOS.
  13. On the other hand, 3D Touch is a hardware feature that makes possible a lot of new gestures, interactions and functionality in the system software, and it’s currently only available on the new iPhones. In this regard, all previous iPhones and other iOS devices are made obsolete. I understand not offering certain software features on previous-generation devices that nonetheless support iOS 9; older hardware has its limits, and it may not perform optimally, or may even lack the necessary components to provide the functionality required by the newer software. But what’s made possible by 3D Touch is really a lot, and it’s really a big step forward in the user interface. An iPhone 6S and an iPhone 5S can both run iOS 9, but the experience on the 6S will feel quite different thanks to the hardware advantage of having (among other things) 3D Touch. Apple has truly found a way to urge people with older iPhones to upgrade. Even owners of the iPhone 6 and 6 Plus: a couple of friends of mine have already told me after yesterday’s event that they’re thinking about getting a 6S and 6S Plus, respectively.
  14. Speaking of upgrading, it’s indeed a pity that the iPhone 5S will be the last of the iPhones with a 4‑inch display. Some were hoping that Apple could offer a new iPhone for those people — and there are a lot — who still prefer smaller phones. Having tried iPhones of all sizes, I must say that the iPhone 5/5S/5C is the line that feels the best in my hand, and it’s still my favourite iPhone design together with the iPhone 4/4S. The 4.7 inches of the iPhone 6/6S are manageable, but not without a period of adjustment and training (for me, at least). The 5.5 inches of the 6 Plus/6S Plus are utterly awkward for my hands. I couldn’t own such a phone, I’d be constantly afraid of dropping it.
  15. The new camera technology in the iPhone 6S/6S Plus blew me away. The photos Schiller showed the audience yesterday were gorgeous, especially the one of the girl on the ferry, where you could clearly see the iPhone’s camera performance in a situation where natural and artificial light mix in a difficult way. Very impressed. If I could afford it, I’d get an iPhone 6S for the camera alone.
  16. On the other hand, Live Photos looks like a bit of a gimmicky feature to me. It’s cool, mind you, but I have the feeling it’s going to get old very soon, despite Schiller’s excitement about it.
  17. In recent times, Apple has ‘doubled down’ on Siri, making the virtual assistant more responsive and capable. The interactions when using the Apple Watch and now the new Apple TV are fun and well thought out, but I don’t know how much or how often I’d personally use Siri. It’s certainly a matter of habits and lifestyle, but for the majority of the tasks I could carry out by invoking Siri, I’m usually faster at carrying them out by myself, manually. I speak three languages, so I’ve been trying to interact with Siri in English, Italian, and Spanish; and despite the progress, interactions with Siri still feel too much of a hit-or-miss affair for me. Most of the time I’m too impatient to give Siri a second chance — I just do the task myself.
  18. The updated iCloud storage options and pricing are sweet. With the previous offering, you got 20GB for $0.99/month, 200GB for $3.99/month, 500GB for $9.99/month, and 1TB for $19.99/month. Now you get 50GB for $0.99/month, 200GB for $2.99/month, and 1TB for $9.99/month. I think $0.99/month for 50GB is just perfect for my needs, but the new prices are overall much more compelling than before.
  19. My first reaction at the end of the keynote: Apple doomed? LOL.

“Solving real issues for real photography”

Handpicked

Lloyd Chambers writes:

Something strange happened on my recent trip: I did not see any mis-focused images from the Sony A7R II. I mean, none.

Try doing that with a Nikon D810 or Canon 5DS R with an autofocus lens — I have and never come close, as past autofocus assessments show. And it’s hopeless to focus a lens manually using the optical viewfinder in a DSLR — the focusing screen is designed for autofocus and can’t show more than about f/2.8 — f/4 equivalent — massive slop — and it is a different optical path almost never the same distance as the sensor (inherent error even with perfect eyes). So one has to resort to magnified Live View using a loupe — clumsy at best compared to an EVF, though it’s perfectly reasonable on a tripod. The omission of an EVF option with the Nikon D810 and Canon 5DS R is so at odds with usage realities that it begs credulity.

[…]

The DSLR is looking like not just a dinosaur, but a lame dinosaur, given these advances. How long will CaNikon watch Sony advance without responding? The optical viewfinder is great for some things, but I say get rid of it — it is a huge liability for most things. Mirrorless is now the leading technology on the market, solving real issues for real photography.

Marco Arment comments:

This matches my experience so far as well. Beyond the clear technical image-quality advantages over any other camera I’ve ever used, what makes the A7R II so revolutionary to me is that my “hit” or “keeper” rate is far higher than with any other camera.

With the combination of fast phase-detect autofocus across the majority of the sensor, subject tracking, face- and eye-detection, an image-stabilized sensor, auto-ISO with programmable minimum shutter speed, very low noise at high ISOs, and incredible dynamic range, I’m finally breaking my long-held habit of taking three or five nearly identical photos at each opportunity to ensure that one of them is sharp and usable.

When I read evaluations like these, I realise how different and distant they are from my way of thinking photography and approaching its workflows. I’m also reminded of how I dislike digital photography in general. I could never use a camera like the Sony A7R II, because it would feel as if my only part in taking a photo were limited to pointing and shooting. It would feel as if the camera were the sole responsible for taking my photos, and I were just an actuator, if you know what I mean.

I’m still largely a film photo enthusiast. I have a small collection of film cameras — point-and-shoots, rangefinders, SLRs — and my more ‘pro’ gear is all analogue, and almost all manual focus. I have nothing against using a camera essentially like a point-and-shoot device: there are occasions where I need to take a photo quickly and unobtrusively (e.g. street photography), and a point-and-shoot or a rangefinder is the best tool for this purpose. And in case I really have to be quick and also want to share a capture on the fly, I always have with me the best digital and connected point-and-shoot device — my iPhone.

But the photography I enjoy the most is what I call the equivalent of ‘slow food’ — when I go for a photo-walk carrying a couple of film cameras with me, some of my ‘pro’ equipment, and hunt for interesting subjects and scenes to capture, taking my time to compose the photo, to consider the lighting conditions and set the camera accordingly, and to finally take the shot; a shot I cannot see and check right away but that’s okay — I’m not a professional photographer but I know enough to expect that the photo I took will come out as intended (unless an unexpected problem occurs with the camera or the film). But most importantly, this way of photographing gives me a more active role in the process. I haven’t come to the point that I also develop my photos — the final step remains in the hands of the photo lab, for now — but it still gives me more satisfaction than getting a DSLR or mirrorless camera and shooting dozens of photos on auto-pilot.

Watchmen
I took this photo with a Canon T70, a manual focus film SLR camera from 1984, in manual mode, using a 200 ISO Kodak Gold film. This 30-year-old camera doesn’t have “phase-detect autofocus across the majority of the sensor, subject tracking, face- and eye-detection, an image-stabilized sensor, auto-ISO with programmable minimum shutter speed,” etc. etc., but I’ve taken some nice images with it, even in difficult lighting conditions (photos like this one and this one are trickier than it seems to get right). And this photo above turned out exactly how I wanted it with regard to focus and exposure. There has been no post-processing of any kind.

 

There are aspects of analogue photography that today sound very much cumbersome to people who have only known digital cameras, such as the lack of instant gratification of seeing right away the photo you just took, or the limits imposed by using film rolls with just 12 or 24 or 36 exposures, or the fact that the whole process has become increasingly more expensive than a digital workflow. At the same time, when I read Chambers’ considerations about how hard focussing a lens manually is when using the optical viewfinder in a DSLR, or how Mirrorless is now the leading technology on the market, solving real issues for real photography, I can’t help but shake my head a little. I look into the big, bright viewfinders of some of my film SLRs, like the Canon T90 (1986), the Canon A‑1 (1978), the Pentax ME (1977), the Minolta SR‑T 101 (1966) or the Nikon F90X (1994), and focussing is a joy. These are all manual focus cameras except for the Nikon F90X, so of course focussing is optimal, but using manual focus Nikkor lenses (even very old ones) isn’t problematic on the F90X.

When I use my film cameras, I can’t help but think that the whole film shooting experience — despite handling sophisticated SLRs like the Canon T90 or the Nikon F90X — is simpler, less encumbered by technology (it’s there, but it kind of remains in the background, not in your face), and overall more satisfying, as are the results.

Since with digital photography the camera is also responsible for the work that in traditional photography is carried out by the film, the debate around digital cameras has got much more similar to the debate surrounding lots of other tech gadgets. Not that it didn’t or doesn’t happen among film photographers. A lot of them love to talk gear ad nauseam, too. But given that digital cameras today pack even more technology inside than older film cameras, discussions in certain forums get so permeated by tech specs comparisons and hair-splitting digressions on sensor technology as to reach a level of abstraction that, in my opinion, ends up having very little to do with photography.

On my most recent trip, I took my Nikon F90X to shoot some test rolls (I acquired it in July). I didn’t see any mis-focused images either. And I mean none. This film SLR from 1994 has only one autofocus sensor, and the results just blew me away. Not an autofocus error, no matter the lighting conditions or the subject.

I don’t want to turn this into yet another film versus digital debate, but really, when I return to Chambers’ statement and think about mirrorless technology “solving real issues for real photography”, I keep wondering: digital photography has given people more convenience and more affordable workflows, no doubt, but how many issues has it actually introduced in the process? How much feature creep? How many complications in camera design and user interface? How many problems that film cameras either never had or have solved already?

A few quick notes on NetNewsWire 4

Software

I’ve been trying out the freshly-released NetNewsWire 4 for three days now. I was excited when Black Pixel announced it, and I respect all the work that’s been done on it since version 3, but so far I’m rather unimpressed. I haven’t checked out the iPhone app because frankly I’m an enthusiastic user of Unread and it’s unlikely I’ll change RSS reader on my iOS devices anytime soon. Since there isn’t an Unread for Mac (but there should be), on the Mac I’m a bit more flexible. I’ve actually been a NetNewsWire user since the early days, and on my vintage Macs I still use version 2.x and 3.x. My current RSS reader for Mac is Reeder and I also bought ReadKit sometime ago. But I really, really like Reeder. It’s fast, it has a good set of features, it shows a thoughtful design and UI. Other RSS readers I have on my Mac are Vienna, Pulp, and of course I downloaded NetNewsWire Lite as soon as Brent Simmons released it on the Mac App Store in March 2011.

Speaking of NetNewsWire Lite, here’s its interface:

NetNewsWire Lite 2011

And here’s NetNewsWire 4’s interface:

NetNewsWire 4 2015

They’re quite similar. One can argue that basically all RSS readers out there have similar layouts because how else are you expected to present news and articles? Pulp for Mac tried the newspaper metaphor and associated skeuomorphism, and it’s indeed a fun UI, but this one is more practical for long reading sessions. 

Still, four years have passed between NetNewsWire Lite and this new NetNewsWire 4, and while I’m sure that a lot of work was carried out behind the scenes (a new iOS version and the NetNewsWire Cloud Sync service have been released simultaneously), and that there may have been periods without development, the fact is that, when compared to NetNewsWire Lite, NetNewsWire 4 doesn’t really feel the “Pro” version of the same software. It feels like a minor update of NetNewsWire Lite, with a few refinements here and there, and little else.

After the discontinuation of Google Reader, a few alternative RSS services appeared, such as Feed Wrangler, Feedbin, Newsblur and Feedly. I found particularly easy to transition to Feedly by associating the same Google account I used to fetch RSS feeds. Readers like Unread, ReadKit and Reeder can handle accounts created with those alternative services, so it’s easy to set them up, and I can use any RSS reader on Mac OS X and iOS that’ll handle my Feedly account, and all the blogs and sites I follow, and the articles I’ve read or yet to read will be kept in sync. As I suspected, given that NetNewsWire has its own sync service, when it was time to set up NetNewsWire 4 I could not just add my Feedly account, but had to either add feeds manually or import an OPML file generated from another reader. Not a really big deal: I exported my subscription as an OPML file from Reeder, and NetNewsWire 4 imported everything very quickly and without troubles. But I was annoyed that the unread articles count was not maintained after the import: all subscriptions were imported with the last 30–40 articles marked as unread[1].

Feature-wise, NetNewsWire 4 has the essential functionality to get the job done and that’s it. I agree with Michael Tsai:

It still has the “lite” feature set, nothing like my beloved NetNewsWire 3. There are no smart folders. There’s no meaningful AppleScript support. It doesn’t support the system share menu.

and with John Gruber’s response:

One can argue that most people don’t use smart folders, and few people script apps with AppleScript — but that’s exactly why there’s an opportunity for a paid app that does support such things. This is why BBEdit has so many esoteric features. This is why apps from Omni and Panic have esoteric features, and in Omni’s case lots of customization options.

When I’m in NetNewsWire 4, the feeling I get is to be using a built-in Mac OS X RSS reader, if Apple had one. An adequate, honest app for the average user, no more no less. A system tool with not a very distinctive personality, so to speak.

 


 

The new NetNewsWire is presented as an ecosystem: there’s the Mac OS X app, the Cloud Sync service, and the iOS app. It’s both its strong and weak point. I think that to get the most out of NetNewsWire, you have to go all-in and get the whole package. This way you get a coherent experience across your Apple devices. Taken as an ecosystem, NetNewsWire works well and is a decent, inexpensive offering. But if you already have a favourite RSS reader either on iOS or Mac OS X, and you’re just interested in using NetNewsWire 4 for Mac or NetNewsWire iOS, then the single apps, taken alone, aren’t quite as strong. Further, if it’s synchronisation you’re after (and who isn’t, with RSS readers nowadays?), getting either NetNewsWire 4 for Mac OS X or NetNewsWire iOS doesn’t make much sense, because they won’t sync with that other RSS reader you have on either platform. In other words, if I switch to NetNewsWire 4 on my Mac as primary reader, but keep Unread as my reader of choice on my iPhone and iPad, I won’t be able to keep the two in sync because they rely on different services.

I understand the benefits of having a seamless ecosystem, but at this point asking people to ditch both their RSS reader of choice on Mac OS X and iOS is a bit too much to swallow, especially because apps like Reeder on both platforms and Unread on iOS represent very strong competition. Let’s just focus on Reeder for a moment, which is the best example for a comparison since it too is available for iOS and Mac OS X. Reeder apps are perfectly independent. They don’t rely on a proprietary sync service, so you can simply choose to buy Reeder for Mac or Reeder for iOS, use another RSS reader on either platform, and always have your feeds in sync. Or, if you like the Reeder experience, and want a familiar interface on both platforms, you can go on and buy the two apps. The full Reeder package (iOS + OS X) will cost you $4.99 + $9.99, only $1 more than the whole NetNewsWire package, so there’s not much difference. But the fact that the two Reeder apps can stand each on their own feet makes Reeder a more compelling alternative than NetNewsWire, in my opinion. You don’t need both apps to appreciate Reeder’s strength and usefulness, but it’s likely that you’ll end up getting the two of them anyway. Instead, to fully appreciate NetNewsWire, you’ll have to purchase both the OS X and iOS apps.

 


  • 1. To be fair, that’s not a specific fault of NetNewsWire 4; importing the file in another reader would have had the same effect, but still I found this step annoying because with other RSS readers I’m just accustomed to just enter the credentials of my Feedly account and have everything in sync on the fly.