Photo Editor

Indoor and low-light shots are the single most common thing people fix. A brightness nudge usually makes a dim photo look normal without touching anything else.

Overcast light and phone processing both tend to flatten a scene. A little contrast puts the depth back and makes the subject read clearly.

Saturation brings faded colour back up — or pulls it down when a camera has pushed it too far and skin tones have gone orange.

Phone photos and scanned documents regularly come out rotated the wrong way. Ninety degrees fixes it in one click.

Front cameras mirror what you see. Flipping horizontally puts text and faces back the way round they actually were.

A filter gives a set of photos one consistent look — useful for a feed, a blog post or a product catalogue that should feel like a set.

Lightens or darkens every pixel in the image at once.

Use it when

The photo is underexposed and dim, or blown out and washed.

Watch out

Push it too far and highlights turn to flat white, which no later adjustment brings back.

Widens or narrows the gap between the darkest and lightest parts of the image.

Use it when

The photo looks flat, hazy or lacking depth — or harsh and needs softening.

Watch out

Too much crushes shadow and highlight detail, and it does not come back.

Makes colours more intense or more muted, without changing brightness.

Use it when

Colours look faded after an overcast day, or too loud from a phone's auto-processing.

Watch out

Oversaturation shows up on skin first — faces go orange well before anything else looks wrong.

Increases edge definition, making detail read more crisply.

Use it when

A photo is slightly soft, or has been through resizing that took the edge off it.

Watch out

Sharpening cannot recover focus that was missed. Overdone, it adds visible halos around edges and exaggerates noise.

Applies a preset look in one click. Grayscale removes colour entirely; Sepia is a warm monochrome tone; Vintage is that same tone with saturation pulled down and contrast pushed up.

Use it when

You want a consistent style across several photos without setting each slider by hand.

Watch out

A filter stacks on top of your slider settings rather than replacing them, so a heavy filter over heavy adjustments compounds.

Turns the image a quarter turn at a time — 90°, 180° or 270°.

Use it when

A phone photo saved sideways, or a scan that came out upside down.

Watch out

A 90° or 270° turn swaps the image's width and height. That is normal, but worth knowing if the output has to hit an exact size.

Mirrors the image left-to-right or top-to-bottom, without turning it.

Use it when

A mirrored selfie, or a product shot that needs to face the other way in a layout.

Watch out

Any text in the photo reads backwards after a flip — which is exactly what fixes a selfie, and exactly what ruins a sign.

In: JPG, PNG, WEBP, AVIF

All four are accepted, one image at a time, up to 50 MB. Every control works the same way regardless of which one you upload — there is no format that gets a reduced set of adjustments.

Out: JPG, PNG or WEBP

Pick the output before you save. JPG for photographs where size matters, PNG when the image needs to stay lossless or keep transparency, WEBP when it is bound for a website and you want both at once.

Dragging a slider updates the image straight away, because the preview is drawn in your browser. You judge the edit by looking at it, not by guessing at numbers.

Four sliders, a filter row, rotate and flip. Everything is on one screen — there is nothing to find and nothing to learn first.

Sliders, a filter, rotation and flipping all apply to the same image in any combination, and you can keep changing them right up until you download.

JPG, PNG, WEBP and AVIF all go straight in, at full resolution, with no need to shrink or convert anything first.

The final render happens in memory on the server and comes straight back in the same request. Nothing is written to disk or saved to a database.

No account, no email, no watermark on the result, no daily cap.

Too much brightness

Over-brightening flattens a photo and blows the highlights to pure white. Once a pixel is white it holds no detail, and pulling brightness back down leaves grey where the detail used to be.

Too much saturation

Past a point, colour stops looking vivid and starts looking artificial. Skin is the giveaway — check faces before anything else when you have pushed saturation up.

Stacking a filter on top of heavy adjustments

Filters apply on top of your slider settings, not instead of them. A strong filter over an already-adjusted photo usually reads as over-processed.

Forgetting to check orientation

It is easy to fix the colour and publish a photo that is still sideways. Look at the preview once more before downloading, especially for scans and documents.

Expecting edits to rescue a bad original

Adjustments change how existing detail is displayed. They cannot add detail the camera never captured — a blurred or very noisy shot stays blurred and noisy.

Nudging the same slider over and over

Several small pushes in the same direction drift further than you meant. Move the slider once, look at the result, and adjust from there rather than creeping.