There is no “new TIFF compression algorithm;” nothing has changed there.
This is going to sound very very strange, but it’s probably the correct behavior now because Adobe fixed a bug.
For many years, if you set Lightroom Classic to send Photoshop a TIFF with ZIP compression, it was not actually applying the ZIP compression. This was reported to Adobe as a bug 8 years ago, and was finally fixed in Lightroom Classic 9.3.
Saving with TIFF ZIP compression has always been much slower than TIFF with no compression, even if you do it in Photoshop without involving Lightroom Classic at all. Because Lightroom Classic was not actually applying the ZIP compression for all those years, everybody thought that was the normal TIFF saving speed. But it was not, it was artificially fast because ZIP compression wasn’t being applied.
Now that Lightroom Classic 9.3 is finally applying the ZIP compression, files are finally saving at the expected (much slower) speed of a ZIP-compressed TIFF file, but people think it slowed down due to some new problem. No, there is no new problem, it slowed down because now it really is saving as a ZIP-compressed TIFF.
I like the file size savings of TIFF ZIP, so I use it. Because Photoshop can save in the background, most of the time the long ZIP save time doesn’t bother me because I can keep working in Photoshop while it’s still saving.
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Yes, fewer pixels would be easier to merge. But I didn’t suggest that because I have been able to stitch panos of comparable size on my 2-year-old quad-core i5 laptop (definitely middle of the road in specs), so I thought your computer should be able to do it with the images you have if there is enough RAM and free space on the system drive. I have done several grid panos in the 12000 x 8000 px range. It takes a while but it gets done.
If you want to try merging them in Photoshop, select the photos in Lightroom Classic and choose Photo > Edit In > Merge to Panorama in Photoshop. This sends the images straight into the Photomerge dialog box in Photoshop. It uses different merging code with different options, with a different result:
Lightroom Classic merges to a DNG file you can continue to edit using raw controls in the Develop module. Lightroom merges in the background.
Photoshop Photomerge creates an unsaved Photoshop document (no longer raw). Photoshop merges in the foreground so you can’t use Photoshop while it’s merging.
Photoshop may or may not do better. The Photoshop method also uses computer resources heavily and takes a long time, possibly longer than Lightroom Classic.
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If you’re in Windows, use Task Manager to see if it really is a RAM problem. Still, even though it could take a very long time, it should complete.
One way it could fail, especially with just 8GB RAM, is if the computer ran out of storage space for large temporary files. Watch free storage drive space during the merge, and see if it gets too close to zero.
The Creative Cloud desktop app needing repair is probably an unrelated issue.
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If the settings you can’t find are things like preferences and presets, it’s probably because those are always tied to a specific account. Although you can store the catalog and images in almost any folder on locally mounted volumes, Lightroom stores its settings in a location that can’t be changed, and is within a specific user account. Which is basically how all other applications work, by the way. The only settings Windows (or macOS) store across users are those that are system-wide; any settings that could be different between users are stored within individual user accounts.
The Adobe document Preference file and other file locations | Lightroom Classic and Lightroom 6 tells us that preference settings are stored at:
C:\Users\[user name]\AppData\Roaming\Adobe\Lightroom\Preferences\Lightroom 6 Preferences.agprefs
…and it’s similar for the other settings files listed on that page.
So if you sign in as another user, Lightroom 6 will not follow the path to the settings you use stored within your regular account’s path, it’s always going to look for settings within that alternate standard account you’ve signed into.
I’m actually a Mac user, so I’m not sure if there is a way to resolve this. You might try copying all your settings files into the alternate user account and both of you agree to use those settings. I’m not sure if copying them would work seamlessly, so you might have to re-create the settings in the alternate account.
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That OpenGL status is not crazy, it’s what Apple has been guiding for some time now. Developers have known that OpenGL is deprecated. For years the complaint has been that Apple has not paid any attention to OpenGL, providing macOS with outdated OpenGL drivers.
That has been and will continue to be a problem for applications that depend on OpenGL, like some games and 3D applications. But they have been running pretty bad on the Mac already due to the reasons above.
It should not be a problem for current versions of Adobe applications. Adobe has followed Apple’s guidance and so in several of their Mac applications, Adobe has implemented the most recent GPU acceleration optimizations using Apple Metal. This is especially true in Lightroom and in the video applications.
Regarding the ability to upgrade the hardware, for the laptops the older MacBook Pros were not that different from most PC laptops: You could upgrade the amount of RAM and the internal storage, but not the CPU or graphics, and that wasn’t enough to make it useful for 10 years of graphics/video work whether Mac or PC. Although you can’t upgrade anything inside a Mac laptop now, having Thunderbolt 3/USB-C means you can sort of upgrade the graphics by connecting to a Thunderbolt 3 eGPU, and adding external storage is both more compact and faster than ever because very fast, high capacity NVMe SSDs can be used as tiny Thunderbolt 3 or USB-C drives about the size of a package of chewing gum.
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It may be because the specific options that “rarely need copying” are not the same for all people.
I’ve definitely synced a crop across many images, sometimes just to get them all into the same aspect ratio that I then recompose slightly for each image. Some will sync spot removal because there’s a dead pixel on the sensor and they want a spot correction for that applied to an entire shoot. I have also synced local adjustments, such as a gradient that works great on one image and needs to be applied to other similar images.
It would still be perfectly reasonable to submit a feature request to customize the dialog box, maybe to let you hide or reorganize the options you don’t use. The Photoshop Feedback site linked to be dj_paige is definitely the best place to do that, so it can be tracked and voted on.
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The Riders file! Wow, that takes me down Memory Lane.
I remember now...Illustrator and FreeHand could both do it, the difference was FreeHand put a GUI on it.
@Mario_Arizmendi — Illustrator stopped supporting the Riders file many years ago. I think one reason was that much of the custom PostScript you would use in there, like custom halftoning, only really worked on PostScript Level 1, which I don’t think was used much by the 2000s. Ton should correct me if I’m wrong on any of that. But if you want to read some examples of how it worked, a web search turned up this page:
Halftones on PostScript printers
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FreeHand let you control halftone screens at the object level, by sending PostScript halftone code to imagesetters, during the bygone age when early imagesetters were very literal about halftone screens. If you entered 133 lpi at 45 degrees for a plate, that's what you got. But when the digital CMYK screens were overlaid, a common problem then were distracting moiré patterns. The moiré patterns were reduced by applying irrational screening, where imagesetters do not apply exactly the frequency and angle you specify, but other values calculated to get you the result you want with less visible moiré patterns. And they can also vary the shape and size of the cells to get there. But all of those adjustments meant you no longer had direct PostScript control over the halftone values that actually came out of the imagesetter. That was when halftone controls at the object level started to disappear, because then there was no point to it.
According to PrintWiki, where you can read about digital halftone screening in more detail, moiré patterns were finally eliminated through supercell screening. This gets even farther from how traditional halftone screening is done.
That’s why building halftone screen effects for design reasons is now done as a graphic pattern or plug-in type of effect, not by trying to directly address the imagesetter hardware like FreeHand did.
I used to do tech support for FreeHand, at Aldus.
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It pixelates because Photoshop, as a pixel-based image editor, is always limited by the dimensions you entered when you created a new document, which you see there in the Image Size dialog box. 7680 x 2160 px is a relatively high resolution document. But it still isn’t infinite, so how far you can enlarge is still limited by the pixel dimensions. In a photo editor, higher resolution just means you get to enlarge further before pixelation happens.
Your screen shot shows that you have zoomed in over 400% At 100%, you see one image pixel for every display pixel. At 400% every pixel of the image is now 4 display pixels tall and wide, so of course they become more visible.
In a vector-based application such as Illustrator, that doesn’t happen because the vectors are constantly rendered to use all the pixels available at the current level of magnification or enlargement. Although you can also set an Illustrator document to be a specific number of pixels tall and wide, that’s just to have a reference for final output — the resolution of the Illustrator vector objects themselves is not limited, and you see that when you zoom in.
How do I get these to be vector shapes?
You can use the shape tools in Photoshop, because they create vector-based shape layers. For example, use the Rectangle tool instead of the Rectangular Marquee tool. As in Illustrator, shape layers don’t have a limited resolution, but in Photoshop they are still limited by the pixel dimensions of the document, so zooming in far enough will still pixelate shape layers in Photoshop. You can increase the document pixel dimensions, but all that does is push out the limit; pixelation will still be possible if you enlarge the image enough.
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But, when I save for the web, the image still looks 50% smaller than it should.
Where is it looking 50% smaller? In Save for Web, in Photoshop at 100% view or Print Size view, or in a web browser after exporting?
If it’s looking that way in Save for Web, Save for Web defaults to 100%, one image pixel to one screen pixel — in other words it is not using the Print Size view setting, so it will look half the size again. I'm in the habit of pressing the “zoom in” shortcut in Save for Web to kick it up to 200%.
Is it just that I have to view images at 200% to see the actual size of how it'll appear on the web?
Yes…for websites that have no code for 2x displays. If a website is coded for both 1x (old) and 2x (Retina/HiDPI) displays, you may be asked to supply 1x and 2x resolution versions of an image, because the website will query the resolution of the display and send the appropriate resolution image so that the image uses the full resolution of the 2x display, displaying twice the image detail at the same size. If you prepare a 2x image for a website coded for it, then 100% in Photoshop will look “right” because it will have enough pixels for a 2x screen and the website will use it at 2x; sizes will be consistent.
But the problem discussed in this thread is totally about most websites not doing anything special for Retina/HiDPI displays, so web browsers blow up 1x images so that they don’t look too tiny on 2x displays (or 3x resolution displays, which some phones are now).
If all of this talk of 1x - 2x scale factors sounds unfamiliar, it’s worth studying to fully understand how Retina/HiDPI displays work. It’s one reason Adobe is trying to move people from the old Save for Web (Legacy) command to the newer Export As command, which is equipped to generate web graphics for low and high resolution mobile/web displays. Unfortunately, although Export As can generate those image sizes, Export As still does not solve this thread’s problem: Photoshop has no easy way of previewing image size for 1x images as seen in a web browser on a Retina/HiDPI display, except pressing Command/Ctrl-2 to set the View to 200%, or redefining Print Size.
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Adobe moved advanced options into collapsed panels. If you can’t find something, look for a disclosure triangle and click it to flip open the panel it hides. Auto Mask is inside the advanced panel options for Selective Edits tools.
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The reason it has not changed is that it is not wrong.
As long as 100% is defined as one image pixel to one screen pixel, 100% will be about half the size on Retina (Mac) and HiDPI (Windows) desktop displays that have a 2x scaling factor. The pixel density is twice as much, so images must appear half the size.
Other photo applications do the same thing and also will not change. Affinity Photo, Pixelmator, Gimp, etc. all define 100% the same way.
But it sounds like what everybody wants is to redefine "100%" so that it no longer means one image pixel to one screen pixel. This can be done using the View > Print Size command instead as long as you also change the Print Resolution and Screen Resolution values in the Preferences > Units & Rulers panel so that Print Size shows your image at a simulated 72 ppi or 96 ppi on your 220+ ppi Retina/HiDPI display.
Note that web browsers automatically enlarge web images by 2x to compensate for the 2x pixel density of Retina/HiDPI displays. But because of this, those images are not using the true, full resolution of the display — the same disadvantage of putting Photoshop into Low Resolution mode. This is also not a good strategy if you are trying to create images for websites properly coded to take full advantage of the resolution of 2x scale factor displays.
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Consider setting up the document as a template for Photoshop variables. This would involve:
A Pixel Replacement variable layer for an image.
A Text Replacement variable layer for the caption.
A separate spreadsheet file with the data set, where each row has the path to each image file in one column, and the caption text in the next column.
If it works properly, Photoshop should be able to assemble 400 versions, each with its image and caption.
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The plain truth is that none of us, as users, have enough information to give any concrete recommendations from what was seen this morning. All we saw were Apple’s statements during a marketing-driven keynote speech, and Apple was not sufficiently specific for anyone to make any hard decisions. All you will get today from users is speculation.
But this is the Apple Worldwide Developers’ Conference, so you do have the benefit of a group that will have more information than us users: Apple developers, who are now attending the more specific breakout sessions after the keynote, learning what Apple is telling them about how their apps need to be written for this new environment. We might get better answers after this week’s sessions are done and developers have a better sense of the work that lies ahead, and what Apple is planning (in terms of hardware roadmaps and long-term support for Intel) that is out of their control. I will be watching for commentary from any developers who attended sessions and blog about it later.
You expressed a hope for a 10-year life for a top-of-the-line MacBook Pro. That is not usually realistic. I know several friends and family who were or are using Mac laptops for over 10 years, but what they have in common was most of their time is spent surfing the web or reading email. Very modest hardware needs. But you mentioned “After Effects, Premiere Pro, and VDMX (which is a live visual effects program), as well as Photoshop, Illustrator, and Animate.” I don’t think there’s ever been a time when a laptop could keep up with those applications for 10 years without severely limiting expectations in the last 4–5 years of use. Think of how well the best available Mac laptop from 10 years ago would meet the system requirements of those applications today…
I got over 10 years out of a Mac and was using major Adobe applications on it (including video editing, though not 4K) at the end, but it was possible only because it was an upgradeable Mac Pro tower. I was able to get it to 10 years by, over time, upgrading its RAM to the max, upgrading the internal drives, and upgrading the video card, to keep up with Adobe system requirements. But none of those upgrades is possible with Mac laptops, another reason why it is difficult to use a Mac laptop for more than 4–6 years with the latest versions of major Adobe applications before the laptop needs to be replaced.
To see what impact ARM Macs will have, we have to wait a while until more details come out. If you need to buy a Mac soon, the fact is it will be months before any ARM Macs are available for sale. The Developer Test Kit Macs made available today use the same chip as in the iPad Pro, which is unlikely to be the chip used in the first ARM Macs, so we still don’t know exactly how the first ARM Macs will perform, or if they will be introduced at the high end or low end. Too many questions that will not be answered soon.
In the meantime, the 16" MacBook Pro should serve well enough for several years.
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On an iMac instead, sure, you’ll get more performance for the same money if you don’t mind giving up portability. I just finished watching the Apple WWDC presentation and no iMac was announced (no new models at all). The key is whether you want to wait and see if a new iMac will be offered before you need to gear up for training.
The Apple presentation today confirmed that Apple is moving Macs to Apple ARM-based CPUs. Existing Mac apps will run on them using Rosetta 2 (like the Rosetta layer that ran PowerPC apps on Intel CPU Macs). Apple name-dropped Adobe and Microsoft as companies they are working with, and they showed Lightroom on the new CPU.
Accordingly, I would not be surprised at all that a future version of Premiere Pro will be Windows only.
I would be surprised. It would be against the trend. Adobe Premiere debuted on the Mac, then for a few years in the late 1990s it looked like the Mac was withering, so when Adobe did a major rewrite of Premiere into Premiere Pro, they dumped the Mac in the early 2000s. You couldn’t get Premiere Pro for the Mac for several years. But something in the numbers told Adobe they needed to get Premiere Pro back on the Mac, so they put in the investment to do that. Then Adobe bought the Windows audio program CoolEdit Pro, renamed it Adobe Audition, and surprisingly, they went to the effort to port the whole thing to the Mac. So the trend is that Adobe feels the Mac must be supported, even to the point of bringing Windows-only acquisitions to the Mac. I think this makes it unlikely that Premiere Pro would leave the Mac.
A CPU transition alone will not make Adobe leave the Mac. This has been proven many times over the last 30 years. Adobe has followed Apple through platform transitions including but not limited to 680x0 to PowerPC CPUs, Classic Mac OS to Mac OS X, PowerPC to Intel CPUs, 32-bit to 64-bit code, and Carbon to Cocoa. They know how to do this. For the Adobe target market, Mac users have always represented too much revenue to ignore.
Premiere Pro is even more likely to stay on the Mac if the new Macs have great performance. That is a big reason Apple is going to Apple silicon in the first place. Everybody knows how well the A-series CPU performs in a thin iPad/iPhone case with no vents or fan, far outperforming all Android hardware and even many laptops. This implies that performance (compared to current Intel CPUs) could be even higher for a future A-series CPU designed for a properly cooled MacBook Pro or desktop Mac. I would love to run Premiere Pro on that.
Afterwards, all Macs will run strictly on a derivative of the mobile iOS.
That doesn’t seem like an accurate characterization. iOS is a derivative of macOS, and iOS and the Apple A-series CPUs are optimized for each other. macOS will simply be fully optimized for A-series processors; there is nothing in this morning’s WWDC demo of macOS 10.16 that indicates that macOS will lose all desktop features. It will simply be optimized for A-series CPUs like iOS is, and if that is achieved, we can expect the same old macOS, but running on faster, cooler, more efficient CPUs.
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I’m not going to talk in terms of the “bare minimum Macbook” because that will not serve you well as a teacher and user. You can run Premiere Pro on the least expensive Macs they sell, but you will have continuing frustrations with a weak or inadequately cooled CPU (as in the MacBook Air), weak graphics, not enough RAM, and not enough storage. If you are going to be spending a lot of hours teaching Premiere Pro every week, you have to aim and budget higher than bare minimum.
From the reports I’ve seen, the base 16" MacBook Pro is a good middle ground for Premiere Pro. Although it is $2399 list price, in the last few months discounts have become quite common. You might want to keep an eye on the Appleinsider Deals web page, which lists current prices at major retailers. Discounts of $250–300 are available at the time I post this.
But even though many consider the base 16" model to have a good CPU and GPU for video editing, consider your long term needs carefully in case you need to upgrade the 16GB RAM and 256GB internal storage. 16GB RAM could be enough if you will mostly run Premiere Pro with as few other applications open as possible. But if you need to run Premiere Pro together with Media Encoder, After Effects, and Photoshop also open at the same time, you need the 32GB RAM upgrade. Similarly, the 256GB internal storage could be enough, especially if it will be normal practice for you to connect large SSD storage and cache drives as part of your daily setup. But if everything must fit in the laptop with no external drives, you will probably want to upgrade to 1TB minimum of internal storage. Yes, these significantly raise the price, but as a video teacher you probably already tell your students that almost no other activity raises the price of the computer you need more than serious video editing. Overall, video editing needs higher spec hardware than photo editing or even gaming in many cases. “Bare minimum” never works out in video editing, except maybe for cuts-only 1080p.
If that $2399 list price sounds like a lot, you have to put that into perspective (in Mac terms). The same price for the 2016–2019 15" MacBook Pros got you much less powerful hardware, less RAM, less storage, and the old keyboard with reliability problems — they were a much worse deal overall. That is why I chose not to buy a 15" during that period. When the 16" MacBook Pro came out in late 2019, Apple beefed up the specs of the base $2399 model to be roughly equal to what you used to have to pay over a thousand dollars more for in the last 15" model, so the 16" was seen as a tremendously better value (again, in Mac terms). For example, the GPU in the base 16" is better than the upgrade GPU in the last 15", so you don’t necessarily need to upgrade it. And by all accounts, they fixed the keyboard in the 16".
The 6-core CPU is not necessarily bad; six cores tends to be the point of diminishing returns. For one thing, more and more of the heavy lifting in video applications is being done by the GPU. Also, the higher-end CPU options have a higher chance of not meeting their full potential due due to cooling and power limitations in that thin laptop case.
I run Premiere Pro on a recent quad-core i5 13" MacBook Pro, because Premiere Pro is not its main job, but it’s good enough for the occasional times I run Premiere Pro. It helps that I connect it to an eGPU when not mobile, because the integrated graphics of the 13" are just OK, but not enough to get real video editing work done fast. I also connect it to an external SSD that serves as a Premiere Pro media cache drive. But I chose the 13" knowing that it would need external help to edit video with an experience closer to a 15-16" MacBook Pro with an internal discrete GPU. If Premiere Pro was my primary application, I would have considered nothing less than the 16" MacBook Pro.
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Adobe decided to nest the options in more hidden panels. Look for the additional disclosure triangles you can click to reveal them. I leave the one containing Masking open because I use it all the time.
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If it is doing this when no card or camera is connected, one thing to check for is if there is any utility software or macro utility that might be sending the keypress Shift-Command/Ctrl-I, the shortcut that opens the Import dialog box.
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It depends on whether the edit model of the application you’re using is destructive (alters original pixels immediately, like Photoshop) or nondestructive (edits are parametric and applied only at output, in raw-oriented editors like Lightroom or Camera Raw).
In a destructive edit like applying noise reduction to a Photoshop pixel layer, it’s better to do that early so that later edits are cleaner and because you can’t change the amount after it alters the original pixels.
In nondestructive image editors like Lightroom, in terms of image quality it matters less when you do it. But it is often good to do it earlier, so that you make better judgments about detail-oriented edits like sharpening, and it’s possible to reduce it later if needed
Lightroom Classic 9.3 added a new preset type that can auto-adjust settings amounts based on ISO speed, and one of the biggest anticipated uses is to apply different amounts of noise reduction settings to images of different ISO speeds as part of a default import preset. In other words, many people will use this to have Lightroom apply automatically adjusted noise reduction before they start manual editing.
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Dov Isaccs wrote:
Poor support for user-installed fonts.
How much has that issue been addressed by the way Adobe recently made it much easier to install fonts on an iPad using the Creative Cloud app?
“All fonts included with Creative Cloud can be used on mobile on iOS13.1 (and newer) apps that support Apple's custom font APIs. Search for your favorite font families or discover new ones with just a few swipes.”
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The icon design change is not a major issue for me and I see their reasoning, but there are definitely some issues. For example, I understand how they want to use color to indicate related applications. But that breaks down for the people who primarily work in one medium. For example, it’s easier to see which applications are for photography and which are for video, but if you only work in photography or only in video, now all of the icons of your apps are the same color, so you actually have to read the letters to start the right application. Some of the kerning doesn’t look right either.
I won’t be surprised if we continue to see tweaks and improvements to the identity system in future application updates.
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If you don’t have Illustrator, you can still do it in Photoshop.
The first step — as in any print project — is to go ask what the print specs are for this graphic. For example, is it supposed to be 3 x 2 inches at a print resolution of 300 ppi? Then when you start the new Photoshop document, enter those specifications.
Then draw it using the shape tools, not the pixel tools or brushes. The shape tools are vector like Illustrator. However in Photoshop they are limited by the pixel grid, and that’s why the document has to start out at the dimensions and ppi required by the print project, so that there will be enough pixels in the document to resolve the vectors at print resolution.
You could draw this in a few minutes by laying down a solid rectangle with the Rectangle Shape tool, then use the Line tool and/or the Pen tool to draw the white lines, set to no fill and white stroke (set those in the Properties panel or options bar).
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How did you come to the conclusion that syncing is removed? Is it because syncing is no longer under the identity plate menu on the left?
What Adobe did in Lightroom Classic 9.3 is give syncing its own, more prominent, cloud icon at the top right corner of the module picker. You might have missed it since it’s now on the other side of the screen.
Also, if you look under the Catalog panel in the left panel stack, is the number of photos under All Synced Photographs the same as before, or is it zero now?
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You definitely want to use an application that helps you put together a multiple-page document efficiently, and with a consistent design throughout. For example, something that would let you create a “master page” design and a set of text styles that you can apply to items across all pages, to minimize manual formatting.
Of the Adobe applications, InDesign is definitely the best candidate, especially if you have high standards for typography, graphic design, and precision. It has powerful multi-page design and management capabilities, and can export straight to PDF for you to send out.
But InDesign does have a learning curve, which might be an obstacle if you are going to use it for just one project without having used it before. I recently helped someone do a similar project, and we decided that they could get their job done using Microsoft PowerPoint (Apple Keynote would have worked just as well). Those applications also have master/template/style features that maintain design consistency and quality across many pages, you can also export both to PDF, they are relatively easy to use, and almost everybody already has one or the other.
davescm is right that even though Photoshop (and Illustrator) have a feature called “artboards” that can sort of be used for multiple “pages,” you’ll tear your hair out trying to do things like page numbering, that are automated in InDesign, PowerPoint, and Keynote.
Canva gets excellent reviews, especially for ease of use, but I’ve never used it and I don’t know how efficient it is for a multiple-page document. They do seem to have presentation templates, so it’s worth looking into.
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