What's new
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One mask can now be built from several parts. A graduated mask and a radial one and a painted one, in the same mask - each added, subtracted or intersected with what is already there. The plus, minus and intersect buttons now apply to the graduated and radial masks as well: with New you get a fresh mask as before, with any of the others the drag goes into the mask you are working on. A short list appears once a mask has more than one part; click a part to put the handles and sliders on it, or drop it. Until now every drag made another mask and another layer, which is why linear and radial could never meet.
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Reopening a mask shows all of it again. A mask built from several parts used to show only its first part when you went back in to edit it - the rest kept working on the picture but was invisible while you painted, so it looked as though the earlier work had been lost. The red overlay is now the whole mask, put together exactly the way the picture puts it together. Painting still goes into the first part; where a later part covers the same place, it wins.
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A mask on any layer, not just on a correction. Right-click a text, a shape or an inserted picture in the layers panel and give it a layer mask: the part you paint away simply is not there any more, and the layer itself stays untouched - the text can still be typed, the picture still moved. If a selection is active when you add the mask, that selection is what stays; otherwise the mask covers the layer itself and the mask brush takes away from there. It is the same mask you already know from corrections, with the same red overlay, soft edge and invert, and a small mark in the layer row says which layers carry one. The mask travels with its layer: move, scale, rotate or flip the object and the cut-out follows, instead of staying behind on the old spot.
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Layers show what is on them. Every row in the layers panel now carries a thumbnail instead of a bare type symbol: the object itself, and beside it its mask where there is one. A correction layer shows its mask, light where it covers. With several masks in a stack it was not possible to tell which one sat where; now you can see it, and clicking a mask thumbnail opens it for editing.
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The mask brush paints into the part you picked. On a mask built from several parts, every stroke used to land in the first one - on a mask made of a gradient plus a brush that meant the gradient. Click a part in the list and the stroke goes there.
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Put several layers together into one. Select them in the layers panel and Merge layers makes a single picture layer out of them, in place: same position, same spot in the stack, and from then on it moves as one thing. It is not the same as rasterizing - that bakes into the photo itself and puts the result underneath everything; merging stays a layer you can still move, hide and reorder. What each layer carried - its mask, its opacity, its shadow - is in the pixels afterwards, so the merged layer starts plain.
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Bend a picture, not just tilt it. Warp joins perspective, grid and line warp in the rotate tool, in a group of its own. It puts a frame over the picture whose four edges are curves: drag a corner to place it, drag the small handles beside it to bend the edge in between, and the inside follows the edges. A flag, a label on a bottle, a banner across a wall - all of them in one drag, where the grid would have meant nudging a dozen points into place. The picture follows while you drag. With an object selected it bends that object instead, and the text in it can still be typed afterwards.
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Distortion is part of the edit now, not of the pixels. Grid, line and warp used to be computed into the picture the moment you applied them: undoing worked only until you closed it, masks no longer fitted, and on a RAW or a PSD the whole thing was gone the next day, because next to those files there is only the edit, never a pixel. They are now stored the way perspective always was - as part of the edit. They come back when you open the picture again, in a .fpx as well as beside a RAW or PSD, masks follow along, and a button in the distort group takes them off again whenever you want.
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Small fixes around distortion. The warning that objects do not follow the perspective now also appears when only the free corners are moved; the line warp hint says, as the grid one does, that masks no longer fit exactly after applying; and a tooltip in the mask panel no longer promises a shortcut that did something else.
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Clip a layer to the one below it. Also from the layers panel: the layer then shows only where the layer under it covers - a photo inside letters, a texture inside a shape, a colour wash that stops at the edge of a badge. Several layers can share the same one underneath, and a layer at the very bottom simply ignores the setting instead of vanishing.
Fixes
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The layers panel no longer empties when you go back to a group. Selecting a group, then a layer further down, then the group again left the whole layer list blank. Nothing was lost - clicking a layer in the picture brought it all back - but until then there was nothing to click. The rows are now rebuilt after the list has finished with your click instead of underneath it.
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A right-click in the layers panel opens the layer menu again. It had started bringing up the editor's footer menu instead - the one that acts on the whole photo - and the same menu appeared over the adjust and info panels and over the photo itself, where the right button belongs to panning. The editor now keeps its right-click for the filmstrip alone, and the layers panel always answers with its own menu.
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Ungroup no longer sits on a single layer inside a group. The button and the menu entry dissolve the whole group, so they now show only where the selection means the whole group: on the group row, or when everything in it is selected.
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Selecting several layers at once works in the adjustment tools. Dragging a box around a few layers in adjust, colour, details, effects or filters left only one of them selected, and doing it a second time suddenly caught them all. Ctrl-clicking and picking a whole group had the same catch. All of them now select what you drew around, first time.
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Several selected layers can be let go of again. Once a few mask layers were picked with Ctrl, clicking another one looked as if it simply joined them, and there was no way back to a single layer short of Ctrl-clicking each one away. A plain click now means that one layer, and clicking the layer you are already on drops the rest.
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An adjustment on several layers reaches all of them. Sliders on a multiple selection only showed on one layer while you dragged, and the others caught up when you clicked away - or kept nothing at all. Every selected layer now follows along as you drag and keeps what you set.
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Handles and objects sit where the picture actually went. With a grid or a warp in place, the handles you drag, the frame around an object and the objects themselves ended up slightly beside the picture they belong to. It showed between the grid points rather than on them, and the coarser the grid the further off they were. All of it now follows the picture exactly.
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Immich people and places are in the filter buttons. The people your server recognised and the cities it knows now appear in the same lists as the local ones, under a heading of their own. Picking one opens it straight from the server. It stands apart because it cannot be combined with the local filters: the server looks up one person or one city at a time, and its photos are not in the local catalogue.
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Faces on upright photos are found again. Pictures taken with the phone held upright were searched lying on their side, so faces on them were quietly missed. They are now turned the right way up first. Photos already searched are searched again on their own, because what was stored for them was measured on the sideways version.
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Switching face recognition off now asks before it throws anything away. It used to empty the whole thing on the spot, names included, without a word - and Cancel put the switch back on while the names stayed gone. It now says how many people you named yourself, and keeps them if you say so. A search that is still running is stopped first; if it cannot be stopped in time, nothing is deleted at all.
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A face search can be stopped. There is an X beside the progress bar. What has been found by then stays.
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Enlarging very large photos no longer fails silently. Four times from a 45-megapixel photo ran for minutes and then saved the picture at its original size, with nothing said. The size is now checked before the work starts, and if it is out of reach you are told why instead of being left to notice it afterwards.
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HEIC and AVIF on a Mac fall back properly. If the system cannot read a particular file, FerrumPix now tries the other decoder instead of leaving the picture closed.
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Mask sliders no longer wipe the red overlay. On a mask made of several parts, turning feather, radius or invert on a graduated part added to a painted one made the red disappear; the angle field was dead there as well. Both work on the part you are actually holding now.
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Editing a layer mask shows its red overlay again. Opening a mask - from the layer's mask symbol, from the context menu or from the button in the panel footer - switched to the mask tool but left the overlay out, and the layer lost its highlight in the panel along the way. The layer now stays selected, and clicking a masked layer in the mask tool brings its mask back up instead of clearing it. The overlay still goes away on purpose once you turn the first slider and in the tools that work on the picture itself; clicking the layer again brings it back, which used to do nothing at all.
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The intersect brush intersects. On a mask with several parts, painting in intersect mode quietly added instead. Invert and Discard also stayed greyed out until something else happened to wake them up.
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Editing a path point no longer distorts the path. Dragging a point so that the path grew or shrank moved all the other points with it.
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A batch dialog no longer freezes the window while it opens. With several hundred RAW files selected, counting what still had work saved beside it happened before anything was drawn.
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The RPM package installs on openSUSE. It only ever worked on Fedora: the libraries it asked for were named the Fedora way, and openSUSE refused it before anything was unpacked. It now names them in a way both distributions understand.
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Smaller ones. Deleting the catalogue data of a folder whose name contained an underscore could take a similar folder with it; a place right at the date line stayed nameless; the warp frame no longer disappears completely when part of it falls outside the picture after a crop; loading one model no longer blocks every other one; the search-list preselection no longer drops photos when two groups differ only in capitalisation; and a few separators that were invisible are drawn again.