Photoshop

I cannot confidently tell my clients that no ai was used when it is so deeply integrated and maybe it runs on certain selection tools without me meaning to. For example, in Lightroom when synchronising settings from a custom preset that existed before ai was put into Lightroom, a statement about ‘ai processing’ shows up, even when I have not done any actions based on ai processing (no generative healing, no special denoise or lens blur)I would like a zero ai interface so I am not accused of even accidentally using it. The images I am dealing with are highly dependent on being seen as documentation and not manipulated by any pixel generation.At least it would be great to have a no-ai switch or working space that can stamp in the metadata that no ai was used.

Are there any suggestions/solutions for those of us who wish to disable or block AI tools like Firefly or the generative AI within Photoshop? I understand I don't actually have to use tools I do not wish to use within Adobe programs, but I think it would also be nice for some of us with strong ethical opposition to generative AI to have an option for it to not consistently pop up in our feeds or have our work training AI models without permission (hence why I disabled the content analysis option for my account).   Title edited by mod

Currently I’m unable to use Photoshop droplets at all, because the company computer with security policies does not seemingly allow apps/applets that are unsigned to run, even as admin. Please consider a way to allow these to run in strict security environments.

 Problem DescriptionThe Adobe Camera Raw (ACR) Color Grading panel currently requires users to manually click the disclosure triangle to reveal the Hue and Saturation sliders/numeric inputs.This hidden layout adds repetitive, unnecessary clicks to the editing workflow. Editors who rely on precise numeric values or slider adjustments must reopen these fields constantly.The UI should prioritize utility over a minimalist aesthetic.Proposed SolutionMake the Hue and Saturation sliders/input fields open by default when launching the Color Grading panel. Alternatively, allow ACR to remember the last used state of the disclosure triangle so users who prefer them open do not have to repeatedly click to reveal them.Thank you. 

Request: Standardize the Align tool in Photoshop with other CC Programs such as Illustrator & After Effects. Current Behavior, Photoshop:When aligning layers, a user must manually toggle alignment between “Canvas” or “Selection”Clicking the three-dots menu next to the align tools in the Options Bar Requested Behavior, Illustrator/After Effects Example: In Illustrator, selecting a single object/layer auto-assumes “Align to Artboard” (with other options available via the drop-down).Align tool in Options Bar auto-assumes “Align to Artboard” with only one object/layer selected When multiple objects/layers are selected in Illustrator, the align tool auto-assumes “Align to Selection” (with other options available via the drop-down).Align tool in Options Bar auto-assumes “Align to Selection” with multiple objects/layers selected  Likewise, in After Effects, selecting one layer auto-assumes alignment to “Composition” (with other options available via the drop-down).Align tool auto-assumes

One of the big deals of Nano Banana Pro is generating images at 2k and even 4k resolution right out of the box. Google charges the same for 1k and 2k generations, the only difference is that 2k takes longer. And 4k are roughly twice the price. But all our imaages from Nano Banana Pro in Firefly are limited to 1k. I don't think I need to tell you how frustrating it is to have to pay for other services to use the same model because we're locked out of some of it's best festures here. Adobe should implement it YESTERDAY. Allow us to generate 1k and 2k images for the same cost, or unlimited for those who have it, and charge credits for 4k generation if they must. But do it ASAP. C'mon guys, you're falling behind, just pluggin the model isn't enough.

Gen AI is dumb and bad for the environment, our brains, and our creativity

Attn: Photoshop Product Management Team345 Park AvenueSan Jose, CA 95110-2704Submitted Online Via: Adobe Community Forums / WishformSubject: Feature Request: Support Windows standard double-click on title bar to maximize/restore windowAdobe Product Team,To improve workspace window management in Photoshop to better align with native Windows operating system behaviors, always show Windows controls anytime the titlebar is visible.Currently, double-clicking the title bar in Photoshop does not consistently maximize or restore the window down to its previous size, which contradicts standard Windows UX guidelines.This behavior is most troublesome when Photoshop enters a state where the title bar remains fully visible, but the three standard Windows control buttons (Minimize, Maximize, and Close) completely disappear from the top-right corner. When this glitch or view mode occurs, users are trapped in a borderless state with no clear visual way to scale down or close the application window. If

I am a Photoshop power user and have worked as a commercial retoucher for almost 15 years. With nearly every update, something seems to change in the click or tab order, and lately a couple of these changes have become particularly disruptive.Recently, I believe within the last two or three updates, the keyboard navigation for Hue/Saturation changed. I used to be able to hit cmd + u to make a quick adjustment, hit Tab twice to land on the Saturation field. Now I have to hit Tab seven times to get there.Similarly, when using Generative Fill, I used to be able to make a selection, click Generative Fill, and immediately start typing because the cursor was already active in the prompt field. Now I have to click into the prompt field before I can type.These sound like tiny changes, but when you work in Photoshop all day, every day, they aren't tiny. A huge amount of speed comes from muscle memory and deeply learned sequences of actions. Changing those sequences means retraining workflows th

The colors between the iPad and the desktop really need to match. The desktop RGB profile needs to be able to be the same as what the IPad has, but it isn’t. There is no sRGB IEC61966 2.1 for the iPad, which has created a lot of problems in the past couple years. Please, please fix this! 

Adobe has made its new Light Adjustment very good, which is truly commendable, but it does not include a Brightness option... We still have to go to the Legacy mode for the Brightness option, which is not really right... The Brightness option should also have been added to this same Light Adjustment. When there are already so many options, having one more option would not have caused any problem... Yes, it is a different matter that we can achieve the same level of tuning using Exposure or the other options, but the Brightness option has been deeply familiar to us for many years and has become a part of our workflow... It should have been kept here as well, even if it was placed at the bottom... We still have to go to Legacy mode for it, and why should we have to go there when it could simply be available in this same adjustment? Please add it if possible.

I have seen the chart but and my photoshop generative credit usage table says I have used 60 credits, but I have no idea what I have used them on? It would be nice to see an itemized table showing the feature used … credits used … date used.Or, is it possible to see this now?  

Hi Adobe Team,I would like to request a UI improvement for the AI model selection process in Photoshop (specifically within the Contextual Task Bar and generative fill workflows).Currently, native Adobe Firefly models and third-party Partner models are split into separate tabs. While I understand this highlights commercial safety differences, switching between tabs disrupts workflow efficiency when experimenting with different outputs.Proposed Solution:Consolidate all available AI models into a single, unified dropdown menu.How to maintain commercial safety clarity:Use clear visual labels or tags next to each model name within the single list (e.g., a green checkmark or badge for "Commercially Safe" or "Adobe Native"). Group them under clear sub-headers within the single dropdown menu (e.g., "Adobe Firefly" at the top, "Partner Models" right below it). This change would dramatically speed up the creative process while keeping users informed of licensing differences.Thank you for consid

Remove Tool appears to clamp HDR values in a 32-bit documentI am using Photoshop 27.9.1 with a 32-bit/channel image in a VFX workflow.I used the Remove Tool to remove the text from a very bright area of the image.At normal exposure, the result looks clean and the removed area blends in well with the surrounding image, as shown in the first two attached images.However, when I lower the exposure to inspect the HDR information, the area processed with the Remove Tool becomes clearly visible. It appears that the generated pixels are being limited or clamped, while the original surrounding pixels retain their higher HDR values.The three attached images show: Original image – before removing the text. After using the Remove Tool – at normal exposure, the result appears clean. After lowering the exposure – the area processed by the Remove Tool becomes clearly visible because its brightness range no longer matches the surrounding HDR pixels. This may not be noticeable when exporting to an

I’m a professional designer who regularly creates large-format artwork for commercial print. Until Photoshop 27.9, I was able to save my large PSB files as Photoshop PDFs, including documents exceeding 30,000 pixels in one dimension.This was not an occasional use case. It became part of my regular production workflow. My completed artwork could be maintained as a PSB and supplied to my commercial printer as a PDF, which is the delivery format they require.Since updating Photoshop, the Photoshop PDF option is no longer available for these documents. I have also tested the newly released Photoshop 27.10, and the restriction remains. I confirmed the change using existing PSB files that I had previously saved successfully as PDFs. The files have not changed. The available output options in Photoshop have.I understand from Adobe’s responses that the ability to save these documents as PDFs was the result of a previous change in Photoshop that was not originally intended. However, that behavi

Turning off foreign fonts in Adobe on Mac Tahoe. I currently use the font manager Font Agent (FA) to select the fonts that I want to use for a project. I scroll through my fonts that I have carefully categorized so that I’m able to just activate the fonts I need. This makes my workflow quick and prevents my apps from lagging. I have been frustrated with seeing my font list include a ton of foreign fonts in my font menu, especially when I have no use for them. I recently discovered that Adobe does have a way to turn off foreign fonts within Photoshop but it only turns them off from my entire font library and not just the fonts that I use frequently that were activated in FA. That means that Adobe is loading my entire font library every time I open it. When I click on the font selection field, a list of fonts appears. The default is a list called "Your Fonts" these are fonts that have been activated by FA. But included in that list are all the foreign fonts that I never activated anywher

I understand from a very reliable source that CS6 and Lightroom 4 will be the last photoshop software that will be available to actually purchase and own. In other words...You will not be able to purchase the software either on a disc or download that is yours to use indefinitely once you purchase the product. It will only be available via the cloud and everyone will be required to pay monthly license fee to use the product. This will allow all upgrades as long as you pay the fee...but if you cease to pay the fee, the software will be deactivated. If this is the case...and I believe it is...THIS SUCKS! I have been Adobe user since I purchase the CS2 Creative Suite and used lightroom since it's inception. I have not purchase every upgrade, but have done so when I felt the changes warranted an upgrade. If Adobe insists on this business model, I will probably use one of the other photo editing product available on the market. There are several that will do most everything Adobe's software

The editable gradient map is great i constantly need the Linear Gradient to be bent, a bit like the transform warp arc feature would be amazing!The ability to squash a radial gradient as well as bend it would also be incredibly useful This would ba especially useful remaking skies.The ability to add grain into this would be great too as dither still produces banding results in 8bit 

It would be really useful to be able to programically transform or tranlate a layer in a no-destructive easily repeatable wayThis would include a lens warp barrel distortion feature, like the optic distortion in camera rawAn offset left/right up/downA scale feature to 2 decimal places (very important) currently can scale with lens correction scale but only whole numbersThere have been so many occations ive wanted these things but have to do them manually and write them in the layer name to try to remember settings

When using the ruler in inches in Photoshop Web, there are five section to an inch (Attachment 1), as opposed to the inch ruler in the Photoshop desktop, which accurately depicts an inch with four sections (Attachment 2). Also, notice the size of the ruler marks in both version. As a high school photography teacher, im certian this inconistancy will confuse students and make simple measurement or readings uneccesarily difficult and push students away form using the web version of Photoshop. I'm recommending the inch ruler in Photoshop Web be corrected to resemble the inch ruler  in the Phjotoshop desktop app. This is neccessary fix that can easy be corrected and released in a future update.

I shot a long bridge in a rural part of my state. Since I was using a wide angle lens, I shot the left side and the right side with overlap to create a panorama. I could not stand in the middle because there’s a big creek so I shot from the right bank as close to the middle as I could get. When I edited the pano, the end result was a noticeable curve of the bridge. The only way to fix this is either Puppet Warp which is quite tedious or use Liquify which is pretty much Puppet Warp Lite. So my thought is this. Would it be possible to change Liquify’s circle to a straight line kind of like a linear gradient? Have it so that line could be set at any length to flatten one thing or the width of the image to flatten a long curve? Or, if anyone could offer another way to make this happen, I would appreciate it.  

I recently discovered that banding has started appearing in smooth color gradients when saving JPEGs in Adobe Photoshop. Naturally, I always save at maximum quality—12 out of 12. If I save as an 8-bit TIFF and then convert to JPEG using FastStone, I can select RGB as the photometric type in the save options; furthermore, I don't necessarily have to choose 100% quality—which would result in a 40 MB file for my example—since 95% is perfectly adequate for me, yielding flawless gradients and a file size of 16 MB, matching what Photoshop produces at its maximum quality setting (12 out of 12). Samples are here: https://disk.yandex.ru/d/7mPxpYfAsDOR7gCan you implement RGB photometry support in JPEG to achieve better image quality?

Example: If you wanted to align duplicates of a layer/smart object around a circular orbit,you currently have to do what is shown in the screenshot.CTRL+T → change transform location → rotate → confirmDuplicate LayerCTRL+T → change transform location → rotate → confirmDuplicate LayerCTRL+T → change transform location → rotate → confirmetc… Layer rotation around a custom anchor point.Problem:After confirmation, the transform origin resets back to the center of its specific layer. Repeats of the action require a tedious setup every time.Feature request:Checkbox for “Persistent Anchor Location”, or just “Persistent Anchor”.Something like that.How should it work?The user checks the box located in the transform control bar. When moving the anchor point, it’s relative location is saved to the layer, it should not reset to the center of the layer after exiting the transform tool. Thus when selecting that layer and entering the transform tool again, the transform anchor should be where you’ve

Hi Adobe Team,I would like to request a dedicated default compression setting for TIFF files inside the Photoshop Preferences menu (ideally under File Handling).The Problem:Currently, Photoshop relies on "sticky memory" to remember the last used TIFF options (like choosing "None" for uncompressed). However, this memory frequently breaks or fails to stick. When this happens, users are forced to manually check "None" every single time they save a file, slowing down production workflows.Why Current Workarounds Don't Work:The standard troubleshooting advice is to "Reset Photoshop Preferences." This is an unacceptable solution for a simple sticky-menu bug. Resetting preferences wipes out customized workspaces, custom tool presets, and custom brushes, forcing the user to rebuild their entire environment from scratch.Proposed Solution:Please add a dropdown menu in Preferences > File Handling called "Default TIFF Compression" with the options:None (Uncompressed) LZW ZIP JPEG By locking this

The rendering of moving images should be done in Adobe Media Encoder