@SinCr0w If unplugging your tablet resolves the issue, it could be a conflict with that tablet's drivers and updates with PS and the OS.  Unfortunately PS doesn't officially support XPen.  You might try using WinTab and see if that works (assuming your on a Win machine): https://helpx.adobe.com/photoshop/kb/enable-optional-extensions-photoshop-cc.html#turn_off_system_stylus   ... View more

Yes, this looks good in 25.11.   The most important thing for me was to get rid of the visually confusing padding on either side. I'm very happy that's gone. I wasn't too concerned with scaling the histogram, I have enough screen space - but I can see the problem for laptop users with limited screen space. ... View more

From the wording of that article it seems pretty clear someone would need to remove a particular typeface currently installed and then go to Adobe Fonts and add it again in order to get the updated version. There are various features I'd like to see added to Adobe Fonts, such as a glyphs table when browsing fonts at the Adobe Fonts web site. It would also be good to be able to see some basic info about a specific font, such as its build version. ... 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

For my part you are welcome, Jethro.   ... 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

My experience as well. Windows 10. ... View more

Nothing has changed in 1o years.  PMS colors are still specified using CIE Lab values.  CIE Lab is the profile connection space (for version 2 and version 4 profiles) and that is the best starting point for CMYK conversion.  Having the exact device profile or print standard profile.  I wish I had a dollar for every job I receive that used the "North American Pre-press Defaults" in Photoshop or InDesign for CMYK conversions because the designer never bothered to ask the printer what standard will be used on their job in the print process.  So for a high-end Sheetfed offset job US Web Coated SWOP ( Web printing) is substandard and a small gamut) Sadly if files are received that way details are gone...      So convert to the proper destination profile.  That is the best method, and in the case of Pantone Colors, do not trust how your monitor displays them.  Even if you have the super high end, high bit depth big gamut display.  Even if the CMYK profile you are converting too fits inside of the display gamut if the PMS colors overprint CMYK or each other.  There is no established math that is used in Adobe software to display PMS overprints.  There is no public data that works universally for Ink trapping and opacity for PMS colors and no wat to display them accurately if they overprint.     In the case of multiple destinations.  Leave the files in an RGB colorspace that is large enough to cover the largest gamut printing process.  So in the case of high-end inkjet prints that are more than likely ProPhoto RGB.  No do not attempt to take other RGB images and convert them to ProPhoto, get there from raw files.   Once the file is converted to pixels it is limited to the gamut of the container RGB color space.     So start with the end in mind and the results will be as you expect.     ... View more

Hi PrinterRick man you know some stuff, kudos for your thorough help here you wrote:   To expand on this there is a Photoshop trick you may want to know. It takes some of the subjectivity out of remapping book colors. Say you have a Pantone Process coated swatch in a US Sheetfed Coated document. The swatch is DS 178 1-C (purple). Now you find it it needs to go to Japan newspaper. Go to Photoshop, make a blank US Sheetfed. Go to color picker, choose Color Library and go to the swatch. Then flip back to the picker. Go to the L value and retype the number you see, hit enter. Assign Japan newspaper. Back to the picker. Go to color library, select Pantone Process Uncoated. Photoshop tells you the new swatch to use. With my color settings it's DS 171-U. You may not get the exact same result depending on your color settings. But it's a good method of remapping a book swatch from one CMYK space to another. If you do this, then it's a matter of assigning a different CMYK in InDesign, and replacing the current swatch with the new one Photoshop gives you. I have a question about this method using Pantone Process swatches please? 'book' colours have not been my thing, so your 'change CMYK colourspace workthrough' ingtrigued me enough to try it. My Photoshop is CC2019 20.0.7, it doesn’t include ANY Pantone process swatches.  How are those obtained / added please?    thanks lots neil barstow     ... 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

I tried yesterday the PostScript print way you mentioned with a test file with feathered images on a spot color background. It flattens the file of course, but the result looked fine. Did you set the resolution of raster effects settings to high? Did you check the flattener settings in the print dialog? In the end it may be wise to ask the printer for a duplicate separation. If they use a modern rip they don't need to go through PostScript and the result may be better. ... 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 rob day, thanks for clarification on your method. I am sure the OP will find this very useful as a method for comparison. I like Colorthink pro to do this but of course folk here already have photoshop so will find your tips of use I am sure. neil barstow, colourmanagement ... View more

You can speed up the calibration process, just for this rough work, by going into preferences and setting Calibration and Profile steps to the lowest value (8), then up it when you've found the magic settings that work. Contrast Ratio: X-Rite i1Display Pro Advanced Features | Contrast Ratio with Coloratti Andrew Rodney - X-Rite Photo Blog Leave the gamma setting alone, it will play no role really.  ... View more

jethrodesign  wrote I think I'll get in the habit of quickly 'Rejecting' any photos I don't want, and then checking online to delete those, especially before they sync over to the Desktop. I forgot to mention, that's what I do. When I have a misfire, or a photo I don't like, I just set the reject flag and move on, doing the cleanup later on my desktop. Mike ... View more

I found an interesting development in the past few days since upgrading my phone to Nougat (Android v.7), in case it's helpful to anyone. - Every shot I take with the Lightroom camera (Auto/Pro/HDR) stores a copy of the file in: 'Internal Memory > DCIM > Lightroom Camera' (as originally noted). But NOW (since upgrading I'm pretty sure), those copies show up in my default Samsung 'Gallery' app! The thing that surprised me, and I'm pretty sure this is new, is that it can read & display the DNG's now (not just JPEGs)! I'm not certain if this is handy or annoying yet, but at least when I delete them from the Gallery app, it deletes these file copies (not the originals in LR directory, though). Still, this should be an option in LR preferences to help keep all these large file copies under control if you don't desire this behavior. For me, I would generally want to do editing to the images (only possible with DNG's in LR Mobile), then export out JPEGs from these for the Gallery app. This process does work OK. I really hope Adobe can refine this process or a lot of people who use the LR Mobile camera are going to run out of space on their phones pretty quickly, and possibly not even realize why (or how to correctly delete). ... View more

Jethro, -  And for the sake of understanding, if we're usually printing on  uncoated stock but WITH a U/V coating, would coated PMS values be closer  than uncoated in this scenario? I do almost all coated stock, so I can't really answer that one. I suspect things will fall somewhere between uncoated and coated if using UV, but that is merely a guess. But IN THEORY, would this be the order of  preference for conversion? 1) Use the LAB conversion with accurate press  profiles provided 2) Use Pantone Bridge PC conversion 3) Use the  older Pantone CMYK conversion (default in InDesign and Illustrator) My experience has led me to choose different methods depending on a number of variables. (Sorry, I know you are looking for a simple, easy answer that fits all scenarios). If I was printing on uncoated stock with a low total ink limit of 240–260, I'd be inclined to stick with a solution that reduces total ink load. For dark colors, this means more black ink (heavy GCR). This will result in less color shifting on press, but may also have a tendency to have a little less vibrance than a light GCR. But, it definitely reduces ink load, which may be a big consideration, depending on your final paper, press, ink. CMYK is widely known to be deficient in reproducing blues, and there can be a tendency to shift toward purple, so I am always cautious if there are important blues in the job or if they represent a large area. I will select the method that tends to err on the side of less magenta, rather than more. Light Pastels are another tough challenge for CMYK, especially if printing on a dingy, uncoated stock that has any yellow bias. The only way to get those light pastels is to spread out the dots and make them small, so the paper exerts a big influence on color, saturation, etc. Another factor that weighs into my decision is the commercial printer. If I don't know who will print the job, I tend to be very defensive, pick a middle of the road standard profile (I've been usning the IDEAlliance SWOP2006_Coated#3v2 profile for my coated work). The final press may be able to utilize 320, 340 or higher TIL, but if I prepare the file that way, and it heads to a 280 or 300 TIL press, I'll have a problem. I also strip out the profiles to prevent unwanted conversions and hope the printer comes close to SWOP G7. If I am working with a color managed printer that I know and trust, I get their profile and design the job around their press and specifications. In that case, I feel more confident pushing things a lot farther, knowing that my hard proofs will match theirs (from experience with that printer). I still err on the side of caution with blues. The Solid to Process uses way too much magenta in the blues to suit me, so I'd use the Color Bridge or Solid Coated books for blues. I also prefer to convert all my images to the final CMYK space in Photoshop instead of InDesign. The easy answer…I'd probably use Color Bridge to select my colors, since it is the latest guide and seems better with blues (at least to my preference). If I had important colors I had to hit, I would do an accurate hard proof and make sure the colors are acceptably close. Using Lab is fine, but which Lab value are you going to select? The Lab values from different swatch books are different. One final thought—CMYK is unlike RGB, HSB, LAB and other tri-stimulus spaces. With three coordinates, there is only one way to define a given color (assuming you have nailed down your working space...sRGB, Adobe RGB, etc). With CMYK, you have four colors to work with, and can create the same color with many different combinations, and they may all print exactly the same. Lou ... View more