Image Filter and Color Adjust

Adjust brightness, contrast, saturation, hue, blur and opacity on a photo and download the result. The preview is live, and the file you export is rendered from the same settings you can see — nothing is uploaded at any point.

Six Controls, Each Doing One Thing

Each slider maps to a single standard filter function, and the export applies exactly the combination you see in the preview. Because the controls are independent, the adjustments compose: raising contrast after lowering brightness gives a different result from the reverse order only in feel, not in arithmetic, since the functions are applied in a fixed sequence rather than in the order you touched them.

• Brightness and contrast both run from 0 to 200 percent with a default of 100. Lowering brightness below 100 darkens; lowering contrast toward 0 flattens the image toward mid-grey.
• Saturation runs from 0 to 200 percent, also defaulting to 100. Setting it to 0 produces a greyscale image while leaving brightness and contrast intact, which is often more controllable than the grayscale preset.
• Hue rotation runs from 0 to 360 degrees and shifts every colour around the wheel. Because it wraps, a rotation of 360 is identical to 0.
• Blur runs from 0 to 20 pixels in half-pixel steps. The value is in pixels of the output image, so blurring a large photo by 2 looks far gentler than blurring a small one by the same amount.
• Opacity runs from 0 to 100 percent, which affects the exported PNG's alpha channel rather than blending against a background.

Adjusting and Exporting

1. Load an image by dropping it on the page or clicking to choose a file. The controls stay disabled until something is loaded, since there is nothing to preview before that.
2. Start with a preset if one is close to what you want, then switch the preset back to None before fine-tuning. The presets replace the slider values rather than combining with them, so leaving one selected means your slider changes have no effect.
3. Move the sliders and watch the preview update. The numeric label beside each control shows the current value, which is what you should note down if you want to reproduce the result later.
4. Click Download when the preview looks right. The exported file is a PNG named after the original with a suffix, and it is generated from the same filter settings as the preview.
5. To process several images at once, load them as a group and use the batch option, which packages the results into a single archive.

The Nine Presets and What They Do

Alternative	Notes
Grayscale	Full desaturation at 100 percent. The single most useful preset here, and the one worth replacing with the saturation slider at 0 if you want to control contrast separately.
Sepia	A full sepia tone, which pushes the whole image toward warm brown. Applied at 100 percent it is strong; there is no partial version, so use the saturation and hue controls for a subtler warm cast.
Invert	Reverses every channel, turning the image into a negative. Useful for checking scanned film negatives and for inspection work rather than for presentation.
Slight Blur	A 2-pixel blur, intended for softening rather than obscuring. Because the radius is in output pixels, the effect on a high-resolution photo is much weaker than on a small one.
Vivid	Brightness up to 120, saturation to 130 and contrast to 110. A moderate punch-up that suits flat photos taken in overcast light, and too much for anything already saturated.
Vintage	Brightness 110, saturation down to 60, contrast 110 and sepia at 20. The reduced saturation is what separates this from a plain warm filter — it mutes the colour rather than tinting it.
Dramatic	Brightness down to 90, contrast up to 140 and saturation to 120. The high contrast is the dominant effect, and it clips highlights quickly on images that are already bright.
Cool	A 180-degree hue rotation with brightness and contrast nudged. Rotating hue by half a turn swaps each colour for its opposite, which is a much stronger move than the name suggests.
Warm	A minus 30 degree hue rotation with saturation at 140. Shifting hue backwards warms the image, and the saturation lift is what makes it read as golden rather than merely yellow.

Things Worth Knowing Before You Use the Output

The tool is straightforward, but several behaviours are easy to be surprised by.

• A preset overrides the sliders completely. If the sliders appear to do nothing, that is why — set the preset back to None and they will respond again.
• The export is always PNG, whatever the input format was. That is lossless and preserves the opacity setting, but it means a filtered copy of a JPEG can be several times larger than the original.
• Blur values are in output pixels, so the same slider position produces a visibly different amount of blur on images of different sizes. There is no way to express the blur as a proportion of image size.
• Batch processing applies one set of filter settings to every loaded file. There is no per-image adjustment, which makes it useful for a consistent look across a set rather than for individual retouching.
• Exports preserve the original dimensions. There is no resizing here, so a filtered 4000-pixel-wide photo is still 4000 pixels wide, and the long edge of a large image will survive the round trip unchanged.

Image Filter Questions

Are my photos uploaded to a server?

No. The image is read into the browser with a file reader, drawn onto a canvas that exists only in memory, and encoded locally. There is no upload step anywhere in the process, which is also why the page continues to work with no network connection once it has loaded.

Why is the downloaded file a PNG when I uploaded a JPEG?

Because the filtered result is rendered onto a canvas and canvas export produces PNG. Keeping it lossless avoids a second round of compression artefacts on top of the adjustments, which matters if you are going to edit the result further. If file size matters more than fidelity, run the PNG through a converter afterwards.

Can I undo an adjustment?

The reset control returns every slider to its default, which is the fastest way back to the original. Because the adjustments are applied to the preview at render time rather than baked in, resetting restores the source image exactly — nothing is destructive until you export.

Does the exported file always match what I saw?

Yes, and this is worth stating because it is a common failure in browser-based editors. The preview and the export are generated from one shared filter definition, so a preset that renders the preview in greyscale also produces a greyscale file. If you ever find the two disagreeing, the export is the one to trust against the settings.

Last verified: October 3, 2026

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Maintained by Huang Bin · Last updated October 3, 2026