You open a portrait where the shirt looked teal on set but reads green on screen. The fix is rarely one global filter. This workspace lets you steer hue, saturation, and lightness per color family while a draggable split line keeps the untouched pixels honest.
Load an image
Tap here or drop a file. Processing runs in your tab.
Most edits go wrong because saturation moves fast. Skin goes plastic. Grass turns neon. Hue shifts feel subtle until you stack them with a heavy saturation push.
We recommend nudging hue in five- to ten-degree steps when faces or products sit in frame, then returning to saturation only after the split line stops lying to you.
The left side always samples the loaded file. The right side shows the same pixels after HSL math runs in JavaScript on your device. No upload queue, no server-side storage.
If you need layered looks or curves-style contrast, pair this page with photo color grading or brightness and contrast after you settle hue here.
| Goal | Where to start | What to watch |
|---|---|---|
| Cool down a noon exterior | Master, small negative hue toward magenta-blue, tiny lightness down | Concrete should not turn lavender |
| Save a red logo from orange cast | Reds range, hue negative, saturation slight up | Lipstick bleed on adjacent skin |
| Muted editorial grade | Master saturation down, Greens or Yellows lifted separately | Shadows going flat gray |
Picture a white bottle on gray seamless, lit with nominally 5200 K LEDs. The raw file looks clean on set, yet the cap reads slightly green on a laptop panel calibrated last year. You do not need a twelve-node curve. You need a narrow yellow-green pull and a sanity check on reds so the label ink stays honest.
Here, you would open Yellows or Greens, subtract ten to fifteen degrees of hue, drop saturation two or three points on Master if plastic highlights spike, then drag the compare slider until the cap matches what you remember from the shoot. Export once the split line stops embarrassing you.
Range chips excel when color families split cleanly. Foggy scenes, heavy mixed lighting, or aggressive noise reduction smear hue boundaries. In those cases a conservative Master adjustment plus a later pass in color balance beats chasing each wedge.
Trust the histogram in your head: if every channel looks wrong, fix global cast first. If one costume element fights the rest, switch to the matching range.
Each pixel arrives as red, green, and blue bytes. The tool converts those values into hue, saturation, and lightness, applies your offsets only where the selected range matches, then converts back. Alpha channels pass through unchanged so PNG transparency survives when the source supports alpha.
Large files resize to a 1600 px longest edge before pixels hit the canvas so phones stay responsive. Export always uses the working resolution shown in the hidden adjusted canvas, not a separate server render.
File reads, drag events, and pixel buffers stay inside the browser tab you opened. Clear the tab or refresh and the image data is gone unless you download a PNG.
Selective ranges use simple hue wedges, not printer-grade ink separations. A blue sweater under tungsten light still shares hue bins with shadow noise, so edge halos appear if you swing sliders wildly.
Animated GIF timelines and CMYK print proofs need dedicated apps. For swapping one brand hex for another across flat regions, color replace sometimes finishes faster than HSL alone.
Two monitors disagreeing is normal. What you lock in here is relative: left versus right on the same screen. Ship finals only after you view them on the display your audience uses most.
Short answers tied to how this interface behaves.
The preview scales pixels to fit your screen. Export uses the downscaled working image (long edge up to 1600 px) to keep phones fast. Start from a high-resolution source if you need print-sized output.
Colorize forces a synthetic hue and saturation curve so the image reads like a duotone. Turn off when you want natural color correction.
Range chips only know hue angles, not shapes. Objects that share a hue with the background will move together. For precise shapes you still need manual selection in desktop software.
Hue wraps in a circle. Large shifts on adjacent ranges tend to spill visually. Reduce the hue delta or tighten the workflow: fix yellows first, then greens.
Canvas export creates a new PNG bitmap. Camera metadata from the original JPEG does not copy across. Keep originals archived separately.
