Oh, phfpt. Appears that if the adjustment layers palette is too narrow, it will just crop off the right side of the histogram screen. Not ideal. I have to make that column of palettes wider to see the entire histogram.   Stumbled upon this because regular Histogram pallette was also showing clipped when it is set to 'Compact View', but shows entire histogram when set to 'Expanded View' or 'All Channels View'. ... View more

I'm seeing the same issue. Using PS v25.7 on Macbook Pro M1 running OSX 13.6.6. Highlights look completely clipped on Levels adjustment layer preview. Really throwing off editing. I tried opening the same image in PS 2023 (24.7.3) and levels histogram displays accurately.    Wondering if there's a hidden setting somewhere?!? ... View more

Hi, thanks for the response. I found the Adobe article that briefly mentions how they 'should' handle font updates (see: https://helpx.adobe.com/fonts/using/update-font-version.html).   Still wonder if anyone can speak from experience whether what is described holds true, for how long it will, and any thoughts on my other questions.    THANKS! ... View more

Ugh, sorry for the confusion here. When I had tried pasting the text frame with the table in it into the trapezoid frame, it would not show. Turns out there was a hidden object with text wrap applied (or possibly the text frame I was pasting had it?!?)! Works as described and how I would have anticipated with the text wrap removed. Thanks for the response. ... View more

Ahhh, sorry. Didn't look closely enough with direct select. Indeed there were 2 points at the top of the inner triangle that were not detectable at full size. Since original letter looked pointed, didn't think to check up super close.   And thanks for the tip on averaging. This helped me figure out how best to deal with them. ... View more

OK, thanks for the insight. I think this method works OK when you have a lot of copies of an original SO (I had about 15-20 copy layers). A bit 'cludgy', but it works. Seems like it's something that should be doable from within the file a bit easier, though.   And yes, I am aware of using 'New Smart Object via Copy' and/or copying effects from layers. But it's just a bit tedius when you have a lot of copied layers in various nested layer groups you'd need to apply to. ... View more

Just a note that I disabled the 'Use Graphics Processor' option in PS for a couple days and did NOT experience the typical freezes. I was doing the same type of work that would generally cause it, and on the same types of files.    I know it's not a solution, but thought it might help debug the root issue. I did notice some other random weird screen anomolies on occassion, that I had not seen before I switched off the graphics processor. But they didn't cause the screen to freeze. I did miss flinging the image around with scrolling, but that was also when the freeze would occur.   My machine has dual AMD FirePro D300 graphics cards, with 2GB RAM each, in case it helps. ... View more

I'm also experiencing this issue, which is new (don't recall this happening in the past). I started a thread (https://community.adobe.com/t5/photoshop/ps-cc-2020-freezing-when-scrolling/m-p/11110841?page=1#M328825), but want to follow this one.   I'm also usually zoomed-in and spacebar scrolling when it occurs. Files aren't unusually large. And I can typically save, close, and re-open to get full functionality back.   But I also just had it happen and completely lock up my computer. Couldn't force-quit, switch to another program, etc. Had to do a forced hard shut-down of computer. I'm on Mac Pro (Late 2013), 24GB RAM, OS X 10.13.6. ... View more

Argh, just happened again. I was once again zoomed-in a bit on an image and in the process of scrolling (space-bar drag) the image when it just froze. It seems like it is just the image window that is freezing. I can switch tools, turn layers on/off, etc. Even zooming using Navigator 'appears' to work, it's just that the image display does not change at all. I have to Save & Close the image, then re-open to get through it.   - Any ideas? This is starting to happen fairly freqently.   ... View more

Hi, thanks a ton for the informative responses! Much appreciated.   The proof we received was indeed a PDF/X-4 file with the 'Output Intent' profile different from what they sent us to use as their output profile (and what we adjusted all colors for). So, yes, all color was DeviceCMYK or DeviceN. And the color numbers (when inspected in Output Preview) were the correct values that we had applied. It was just that color 'display' was much different from what we had sent, due obviously to the different Output Intent profile.   I guess I was just misunderstanding how the 'Simulation Profile' was intended to work. I thought the color numbers/values set in the file would remain the same, and the display would change to show how those numbers would output on different devices (similar to Illustrator/InDesign Proof Colors). So I was trying to see if I selected as the Simulation Profile our original output profile if the display would shift to matching our Illustrator file.   NOTE: I DID have an older version of Acrobat (X Pro), and that is how it behaves when changing the Simulation Profile (the color display changes based on the output device selected, numbers remain the same). So this must be a new (opposite) way that Acrobat DC works. That's probably my confusion, along with the knowledge that a CYMK-to-CMYK conversion is not usually recommended, which is what Acrobat DC is indicating. Dont' suppose there is a way to change preferences or something to get DC to act like previous versions did?!?   - But why would your printer export a PDF to the X-4 standard, and then output to a profile that conflicts with its Output Intent?   So this is our million $$ question.   - Would it be common for a printer to select the PROOFING DEVICE'S output profile, rather than their final press output profile, when creating a digital proof for client signoff?   Unfortuantely, these are being printed overseas, and there is a bit of a language barier when communicating with them. And the client doesn't really understand the technical aspects & value of color management, so they're wondering why we're spending so much time on it. So we have to tread a bit carefully here. ... View more

Hi, thanks again for the helpful tips & confirmations here. One additional wrinkle that may be coming up, and I wanted clarification on: - Would anything change if the final output device ended up being a digital press of some kind, specifically an inkjet possibly?   One of these jobs will be on a label printer, and we're trying gain clarification if it is an Epson commercial label printer vs a more traditional offset press. If it is indeed, do we approach this differently since these printers sometimes have 6-8 ink colors instead of just CMYK (e.g., extra orange, greeen, etc., thrown in for 'flavor')? Or do we just get an appropriate output profile for this device (if they have one) and plug that in as we would SWOP, GRACoL, etc.?   OR, with these devices specifically, is it better to leave PMS spots as spots and let the EPSON's RIP do the conversion at time of printing? If so, what profile would we assign to our working documents if it's a mix of CMYK + Spot colors?   Thanks in advance!    ... View more

Ok, that makes sense.    For our conversion options, we've generally set this to 'Relative Colorimetric' and 'Use Black Point Compensation'. But we are generally just converting RGB images into the final CMYK working space when making PDFs. Are these good setting for this application?   And my monitor is a high-quality, wide gamut display that uses NEC's color management software with an i1 Display Pro plugged directly into the monitor to calbrate to typical press standards (e.g,. D50, 90cd/m2 lighting, etc.). Hopefully this works well. We understand that we need to have 'Overprint Preview' turned on to get Illustrator to use the LAB values for the spot colors, correct? Those definitely look different with it turned on. I guess we're wondering about making any pretty minor corrections based on what we're seeing (with a possible skew towards more pure color values or values that may have less tendancy to shift if we did).   We probably won't get to see proofs from the printer on this, so just hoping for the best. The client is trying to aquire a profie from the printer right now. We'll see how in tune with color management they appear to be...   Thanks!     ... View more

Hi, thanks for all the helpful replies! Much appreciated.   -Just my 2C, but wouldn't it be best to simply use Lab values for the PMS coloursand allow Adobe to map to CMYK.    That was my initial thought and plan as well. I know it relies on the printer being calibrated to the profile they say to use (or the one we guess on), but that is beyond our control. We have to start somewhere. If we use Pantone's recommendation (i.e., Bridge colors), that's just one other conversion to a specific output condition as well, right?!?   Converting in Illustrator by ensuring that 'Use Lab Values...' is checked in the spot color options first, and then changing the color space to CMYK in the Color pallete on a box filled with a PMS color, 'should' get us the same results as creating a Photoshop file in LAB color space, then doing a 'Convert to Profile', correct?   Any input on how much we can trust our cailbrated display when looking at the original spots and the conversions next to each other?   THANKS!     ... View more

Hi, I've been trying for a couple weeks now to speak with a support supervisor at Adobe to get definitive answers on these things. They keep saying they'll call, but never do.    So one additional question in case anyone knows, as the files have been approved now and we need to send them to the printer very soon.   - If we do a 'Save As' on a file with linked RGB images, and our file & the Color Settings both set the printer's ICC profile as the CMYK color space with Relative Colorimetric as the rendering intent, and we choose 'Create PDF Compatible File', 'Include Linked Files', and 'Embed ICC Profiles' in the save options, would that convert all images to the proper output intent (per our Color Settings) at full resolution in a simlar fashion to how Acrobat does it when creating a PDF/X file (minus the resampling & compression you can do)??   If that works as we're assuming, and the printer requires native AI files, it seems like doing a 'Save As' like that would be a relative equivalent to saving out a PDF/X (with the color conversion happening in that process). We assume this might be especially true since we're saving a 'PDF Compatible' file. We know it probably won't pass a PDF/X preflight check, but might be essentially the same and may make it a bit safer for the printer (as long as the output profile they've sent us is good).   - Anyone have experience or knowledge with this to either confirm or reject these assumptions???   Thanks again! ... View more

Thanks for the quick response. I downloaded a trial for InkQuest, then generated separations and released the separations for the channel we wanted to replicate. It does create an incredibly complex web of hundreds of small clipped black & white embedded images (I'm assuming they're 100%/0% K). There are a number of elements that extend outside of the bounds of the design as well.   So on a whim, I tried printing separations to a postsript file (just the channel we want) and running it through Distiller, then back into Illustrator. It actually creates a very similar file, with hundreds of individual clipped embedded images. It's not exactly the same, and does show more of the hairlines sometimes seen in Acrobat if display preferences aren't set properly ('stitching' issues). But I'm guessing it must be a similar process.   I'm not really sure to what degree something this complex would be to the printer. If there were any of the stitching issues we see a bit, depending upon preview, that wouldn't be good. And we have to bring all of this into the master document and make sure it aligns perfectly with the master art.   Maybe we'll see if the printer could just output a duplicate separation of the color channel we're trying to use and call it their varnish plate?!? We do wonder what standard practice is, though.     ... View more

Hi, thanks for the replies!    < "Upon embedding, images will be converted to the working space (CMYK in your case)" > - Do you know if it would favor the document space if it is different from the default working space? We've assigned the printer's profile to the document which is different from our default working space. - Does it use the rendering intent listed in the Color Settings (e.g., Relative Colorimetric)?   I'm wondering if Illustrator would use a similar technique to converting images from their default working space (i.e., Adobe RGB) to the output intent (i.e, our printer's profile) in the same way as saving/exporting a PDF/X and choosing to convert to destination in that process? If the printer requests CMYK images, this would be an easier way to convert everything (and 'package' it) rather than opening each image, saving a CMYK alternate, relinking to that, and keeping track of everything. But we would just want to be sure it's doing it PROPERLY AND WELL.   < In Illustrator, if you go to File, then select "Package", it will save your file and linked images together so you don't have to look for them. > - Is this something added to newer versions of Illustrator? We're still primarily using CS6, and that is not an option. That is the reason we were wondering about embedding images, just so nothing slips through the cracks and is forgotten. InDesign does the packaging well.   THANKS!         ... View more

Thanks for all of the replies here, much appreciated!    Since a lot of people were concerned about the use of RGB images, we did a test where we first converted all images to CMYK now that we have a proper output profile from the printer (we didn't have this prior). When printing, while the variation in the soild colors aren't as pronounced now, the issue is still there.   So we then tried printing separations to see if there was an actual issue (using the original RGB images). Interestingly, when we set Illustrator to 'In-RIP Separations', we get a composite single print with NO transparency issues and the color looking most accurate. When we set it to 'Separations (Host Based)', we don't see any variations in the solid PMS background color channel (which prints as black).    So I'm hopeful that the way we've set things up is proper and it was just an issue with our RIP properly compositing the colors where there was transparency effects over the PMS color (flattening those areas to CMYK, but leaving other areas original).    Our main reason for concern in all this is that the printer may require our original Illustrator files. In all other jobs we do, we send a proper print-ready PDF/X file (converting all RGB images to the proper output intent at this point) so we have more control over making sure things are done properly and can't be modified. Thanks again!     ... View more

Hi, thanks for the replies. Sorry, we keep everything in Adobe RGB for the sake of editing, then 'generally' convert to final output space on creating final PDFs for the printer once we know the final output intent (e.g., GRACoL, SWOP, Custom Profile from the printer, etc.). This is a pretty standard workflow for print jobs, since we'll lose a lot of color data once we make the conversion to CMYK (and hopefully to the proper CMYK output intent).   For this, we do have a profile for the printer, which is assigned to the Illustrator file. I suppose we could do a test where we manually convert to this output space in Photoshop and see if it helps at all. It won't be the output intent for our local printer, but should be close enough for testing.    But just so you know, we see the exact same thing when inspecting in Acrobat as what you're showing in your example (Note that the images are converted to CMYK during the PDF creation). It's only when we output to our local printer that we see the issue. So we just weren't sure if it was an issue with our Fiery RIP, and if there was any potential of the final printer experiencing the same thing. ... View more