Those who are more addicted to capturing photographs of all routine life moments and love to update them on social media sites are advised to move towards Instagram. It is easier to use and the interactive design make it standout as a popular competitor against Facebook. Currently, about 400 million active users get connected to this site per month and the average user count is becoming more and more.
Big Tech companies like Facebook and Twitter have taken advantage of our desire to do this. They “hooked” people then they manipulated what the users would see with algorithms. They collected every word you ever typed on social media and made assessments about you so they could sell that information to advertisers. They made a fortune off of every person who ever used their services, and deep down in the fine print, people gave them permission to do so.

@Corvin Adkins: I completely agree. My team and I use Podio and the internal chat is useful for general communication. And even though it integrates with Slack, I don't want my team to have to switch between apps to chat. It would be counter productive. We would love to migrate to Clickup but wouldn't be able to until it had the current features that our team is using on Podio at minimum.
Twitterrific by the Iconfactory was the very first Twitter application for the iPhone, even predating Apple's official App Store. It is full-featured, award-winning client with a beautiful and intuitive UI. Twitterrific supports link shortening and tweet translation in addition to the ability to filter your timeline for specific tweet types and trends. It's clean and elegant and color-codes your timeline so you can see tweets, @mentions, and DMs all in the same stream.
I’d be remiss to not mention Slack or Discord here as well. Those services are good, but they are too insular to be a real threat to Twitter. You have to know someone on the inside to get in yourself, and there are so many versions/channels/servers for you to join it’s hard to keep them all straight. They can be good for you and a couple dozen (hundred) of friends to stay in touch, but it’s not great for a Twitter-style experience.
There you have it. Four great—if not better—alternatives to Instagram. I admit, I don't hate the app as much as I implied earlier, but it's difficult to watch great apps and alternatives get swept under the rug simply because of trendiness and flash rather than substance and features. Still, you may not agree with me—perhaps you've used one of these apps and still prefer Instagram, if only to make iOS users angry? Perhaps there's a killer Instagram feature I've overlooked, or a killer alternative worth mentioning? Whatever you think, agree or disagree, share your thoughts in the discussions below.

With Google’s messaging apps a real mess right now (Hangouts is good but rarely used), and Facebook in charge of Instagram and WhatsApp, the other genuine alternatives are Signal and Telegram. We prefer the former for its stronger encryption, but they both do messages, calls, media, groups, and more. Whichever you pick though, you’ve then got the job of trying to get all your friends to switch too.
While Path isn’t necessarily a true competitor to Instagram, it has many of the same features. You can capture photos in the app, apply filters, export them to other apps, or post them on your stream for friends to view. Most of the privacy concerns surrounding Path have been resolved, and it offers a very intimate approach to sharing. Rather than imploring you to build an army of followers, Path strives to keep things intimate by sharing photos with the people you care about most. The photo-editing features aren’t as good as the other apps mentioned here, but as a social network it is argueably a better experience than Instagram.
Today's Twitter calls to mind the plot of Ghostbusters 2: It's a digital sewer of negativity slime we're all wading through. With the company's fortunes tied directly to user count, there's little incentive to purge bad actors or even those who break Twitter's own rules, especially if they're famous enough. In this case, I did what the Ghostbusters might do—I broke with the establishment and took things into my own hands. I (mostly) left Twitter, and joined Mastodon.
Twitter has become a cultural icon since being introduced in 2006. Even President Donald Trump of the United States has gained notoriety for his use of Twitter. Users of the platform are able to send "tweets" which can be no longer than 280 characters. This is double the original limit of 140 characters. In some Asian languages, 140 characters remains the standard.
Now to Steemit. They claim to prevent spammers from posting excessively they limit your posts. Want to upload and share some photos or maybe use the connected DTube ,YouTube alternative, to upload a video go right ahead. You will quickly be silenced and forbidden from posting any further unless you are willing to pay. If you become popular this will go away some due to the fact that you will get more people liking your content and it will give you more “steem power” so much like high school if you are popular you can share your opinion, but if you are not be prepared to pay if you want to comment on that post. This along with the fact that 80-90% of the content is about crypto currency and people talking about Whales while telling minnows to shut up and a two week wait to even set up your account bored me very quickly. It is a horrible platform for anyone other then those who want to eat, think, dream, and talk about crypto 24/7 and who are willing to wait ages to be popular enough to talk about it freely.

Someone You Loved is Capaldi’s first single to pass the mark, while Giant is Harris’ 20th and Rag’n’Bone Man’s third. Overall consumption of Harris tracks since his 2007 debut Acceptable In The 80s stand at 22,544,175. That’s a huge amount but Rihanna - with whom he spent six weeks at No.1 with We Found Love in 2011 – dwarfs that with a to-date tally of 41,073,313 since her 2005 debut. Steel Banglez, AJ Tracey and MoStack all score their first Top 10 single, with their collaboration Fashion Week becoming the highest of this week’s five new entries to the Top 75 at No.7 (31,270 sales). It is Steel Banglez’ third Top 75 hit as a credited artist – he has many more as a producer - AJ Tracey’s 10th and MoStack’s sixth. Four weeks after peaking at No.7, Options makes gains for the second week in a row for NSG feat. Tion Wayne, and returns to the Top 10, climbing 11-10 (24,899 sales). And four weeks after debuting and peaking at No.8, Walk Me Home rallies 12-9 (27,350 sales) for Pink, helped by its newly-released promotional video. There are new peaks inside the Top 10 for Just You And I (4-3, 40,727 sales) by Tom Walker, Sucker (5-4, 36,898 sales) by Jonas Brothers, Location (8-6, 31,564 sales) by Dave feat. Burna Boy and - improving its chart position for the eighth straight week since it debuted at No.43 - I’m So Tired (9-8, 28,138 sales) by Lauv & Troye Sivan. Completing a rare Top 10 in which eight tracks climb two are static and none fall, Break Up With Your Girlfriend, I’m Bored surfs 6-5 (32,922 sales) for Ariana Grande. Overall singles sales are up 4.66% week-on-week at 18,494,978. That is their second highest level to date, and 12.33% above same week 2018 sales of 16,465,382. Paid-for sales are down 0.44% week-on-week at 741,229, and are 28.55% below same week 2018 sales of 1,037,469. 27 years after he topped the album chart with his eponymous debut solo album, Michael Ball returns to the summit with Coming Home To You. The album is a collection of covers by the 56-year-old, with many of the songs pre-dating Ball’s first album, including To Love Somebody (The Bee Gees, 1967), Love Is Like A Butterfly (Dolly Parton, 1974) and Miss You Nights (Cliff Richard, 1975) and Sail On (The Commodores, 1979). Coming Home To You is Ball’s first album since his back-to-back No.1 collaborations with fellow tenor Alfie Boe, Together (November 2016), and Together Again (November 2017). Thus providing his fourth No.1 in all, it is also his 22nd Top 75 album, and his ninth Top 10 album, it can’t match those Boe collaborations for first week sales. Consumption of 18,039 units (including 114 from sales-equivalent streams) – the lowest for a No.1 since Ed Sheeran’s Divide topped 83 weeks ago with 13,975 sales - is considerably below Together’s first week tally of 44,860 and Together Again’s 43,795. It is also below the 19,087 copies that Boe’s subsequent solo album, As Time Goes By, sold when it debuted and peaked 17 weeks ago at No.10. Blending original recordings of the former with newly-recorded instrumental elements provided by the latter, The Carpenters With Royal Philharmonic Orchestra reached No.8 last December and, with Richard Carpenter on a UK promotional tour, re-enters this week at No.10 (5,880 sales). George Ezra scores his sixth Top 40 single with Pretty Shining People (41-38), while parent album Staying At Tamara’s sales increase 13.17% week-on-week to 11,541 – a 10 week high – as it climbs 6-5. The rest of the Top 10: Singing To Strangers (1-2, 14,046 sales) by Jack Savoretti, The Greatest Showman soundtrack (4-3, 13,799 sales), What A Time To Be Alive (3-4, 1,534 sales) by Tom Walker, Bohemian Rhapsody (5-6, 10,710 sales) by Queen, Psychodrama (2-7, 10,495 sales) by Dave, Thank U Next (7-8, 9,119 sales) by Ariana Grande and A Star Is Born (8-9, 7,438 sales by Lady Gaga & Bradley Cooper. Overall album sales are up 4.86% week-on-week at 1,796,945, 4.67% below same week 2018 sales of 1,882,925. Sales-equivalent streams accounted for a record 1,182,979 sales, 65.83% of the total. Sales of paid-for albums are up 4.25% week-on-week at 613,966, 33.84% below same week 2018 sales of 928,024.
Ello, created as a more private, ad-free alternative to Facebook, exploded in popularity in 2014 at the height of the Facebook real-name policy controversy. It's since morphed into a more Pinterest-like social networking platform for creative people: artists, musicians, photographers, and more to build brand awareness and sell their wares. What hasn't changed, however, is that unlike other more popular networking sites, Ello never sells user data, shows ads, or enforces a real-name policy.

Maki is not only a replacement for Facebook, but for a number of other apps, including (Facebook) Messenger, Twitter, Instagram, and so on. This app allows you to customize not only themes, but also its navigation panel, while you can also save bookmarks via the app, and make some layout changes. Power saving mode is included in the app, while you can also lock this app via a password or your fingerprint, which is a feature that is built into the app.
There are also sister “apps” to Steemit that work within the Steem blockchain. These include DTube (a YouTube alternative), DMania (getting paid for memes), DLive (for live streaming) and Zappl (a Twitter alternative.) My very first Zap just read: “This is my very first Zappl and I have absolutely no idea what I’m doing,” and it earned me six cents. You can learn more about these apps by reading the Steemit story here. Steemit also has an active “in person” community, including a Steem Creators Conference that’s coming to Las Vegas in mid-April.
SteamZoo has long been touted as a great—if not better-alternative to Instagram, partially because of the way it turns editing and sharing your photos into more of a social game that's addictive to play. You can earn badges—much like FourSquare—for sharing photos, adding effects and borders, or even for taking pictures of specific subjects, like your dog or your dinner. Whether you encourage the behavior or not, StreamZoo is a pretty addictive app to use.

When it comes to searching for additional sources of income to finance the project, Ello’s creators are rather creative: they have plans to begin generating revenue through user transactions carried out on their network – so by taking a commission on CD sales, for example. One of Ello’s principles is that its users aren’t obliged to use their real names, which had previously been the case at Facebook and caused outrage. When it first started out, Ello was a closed network, only accessible through an invitation to join from a registered user. This has since been relaxed, and today Ello is available for all interested parties. Critics of the site claim that Ello can’t really be considered a true Facebook alternative because it’s lacking many of the basic functions required to compete. For example, private communication between users via a chat box function is currently not possible. Ello’s focus instead is on high-quality content for all to see, making it an excellent environment for artists and photographers. Users from creative backgrounds are often attracted by Ello’s simple, minimalistic design, leaving lots of space for user posts to shine.

The platform Diaspora is a social world online that puts your data back in your own hands, according to its own slogan. Its range of functions is similar to those of Facebook. Users can publish status updates, share posts and images, and comment on other people’s posts. And just like on Facebook, you can control who gets to see your own posts as well. Diaspora uses hashtags to order posts, meaning that you can use these to find like-minded people who share your interests. Linking Diaspora to your Facebook profile is also possible, and the software has its own chat function. Diaspora is also an open source project.

Someone You Loved is Capaldi’s first single to pass the mark, while Giant is Harris’ 20th and Rag’n’Bone Man’s third. Overall consumption of Harris tracks since his 2007 debut Acceptable In The 80s stand at 22,544,175. That’s a huge amount but Rihanna - with whom he spent six weeks at No.1 with We Found Love in 2011 – dwarfs that with a to-date tally of 41,073,313 since her 2005 debut. Steel Banglez, AJ Tracey and MoStack all score their first Top 10 single, with their collaboration Fashion Week becoming the highest of this week’s five new entries to the Top 75 at No.7 (31,270 sales). It is Steel Banglez’ third Top 75 hit as a credited artist – he has many more as a producer - AJ Tracey’s 10th and MoStack’s sixth. Four weeks after peaking at No.7, Options makes gains for the second week in a row for NSG feat. Tion Wayne, and returns to the Top 10, climbing 11-10 (24,899 sales). And four weeks after debuting and peaking at No.8, Walk Me Home rallies 12-9 (27,350 sales) for Pink, helped by its newly-released promotional video. There are new peaks inside the Top 10 for Just You And I (4-3, 40,727 sales) by Tom Walker, Sucker (5-4, 36,898 sales) by Jonas Brothers, Location (8-6, 31,564 sales) by Dave feat. Burna Boy and - improving its chart position for the eighth straight week since it debuted at No.43 - I’m So Tired (9-8, 28,138 sales) by Lauv & Troye Sivan. Completing a rare Top 10 in which eight tracks climb two are static and none fall, Break Up With Your Girlfriend, I’m Bored surfs 6-5 (32,922 sales) for Ariana Grande. Overall singles sales are up 4.66% week-on-week at 18,494,978. That is their second highest level to date, and 12.33% above same week 2018 sales of 16,465,382. Paid-for sales are down 0.44% week-on-week at 741,229, and are 28.55% below same week 2018 sales of 1,037,469. 27 years after he topped the album chart with his eponymous debut solo album, Michael Ball returns to the summit with Coming Home To You. The album is a collection of covers by the 56-year-old, with many of the songs pre-dating Ball’s first album, including To Love Somebody (The Bee Gees, 1967), Love Is Like A Butterfly (Dolly Parton, 1974) and Miss You Nights (Cliff Richard, 1975) and Sail On (The Commodores, 1979). Coming Home To You is Ball’s first album since his back-to-back No.1 collaborations with fellow tenor Alfie Boe, Together (November 2016), and Together Again (November 2017). Thus providing his fourth No.1 in all, it is also his 22nd Top 75 album, and his ninth Top 10 album, it can’t match those Boe collaborations for first week sales. Consumption of 18,039 units (including 114 from sales-equivalent streams) – the lowest for a No.1 since Ed Sheeran’s Divide topped 83 weeks ago with 13,975 sales - is considerably below Together’s first week tally of 44,860 and Together Again’s 43,795. It is also below the 19,087 copies that Boe’s subsequent solo album, As Time Goes By, sold when it debuted and peaked 17 weeks ago at No.10. Blending original recordings of the former with newly-recorded instrumental elements provided by the latter, The Carpenters With Royal Philharmonic Orchestra reached No.8 last December and, with Richard Carpenter on a UK promotional tour, re-enters this week at No.10 (5,880 sales). George Ezra scores his sixth Top 40 single with Pretty Shining People (41-38), while parent album Staying At Tamara’s sales increase 13.17% week-on-week to 11,541 – a 10 week high – as it climbs 6-5. The rest of the Top 10: Singing To Strangers (1-2, 14,046 sales) by Jack Savoretti, The Greatest Showman soundtrack (4-3, 13,799 sales), What A Time To Be Alive (3-4, 1,534 sales) by Tom Walker, Bohemian Rhapsody (5-6, 10,710 sales) by Queen, Psychodrama (2-7, 10,495 sales) by Dave, Thank U Next (7-8, 9,119 sales) by Ariana Grande and A Star Is Born (8-9, 7,438 sales by Lady Gaga & Bradley Cooper. Overall album sales are up 4.86% week-on-week at 1,796,945, 4.67% below same week 2018 sales of 1,882,925. Sales-equivalent streams accounted for a record 1,182,979 sales, 65.83% of the total. Sales of paid-for albums are up 4.25% week-on-week at 613,966, 33.84% below same week 2018 sales of 928,024.
×