Negative in. Photo out.

Photograph the negative against a bright, even light — a window works, a phone screen showing white works better — crop to the frame, then drop it here on the default Negative → photo mode. The reason a plain invert is not enough: colour negative film carries an orange mask, so inverting it leaves a strong cyan cast. This mode inverts and then rescales each channel between its own 0.5 / 99.5 percentile, which cancels the mask. Black-and-white negatives need no mask removal, so Straight invert is the cleaner choice for those.

No. The pixel inversion runs in your browser. Your photo never touches our servers — we don't run an image pipeline at all.

Duotone maps photo luminance to a two-color gradient (any two colors you pick). Photo Negative inverts colors first, then optionally tints. The starting point is opposite: Duotone treats the photo as tonal info; Negative treats it as color info to flip.

A photographic process from 1842 — coat paper with iron salts, lay an object on top, expose to UV light. Where light hits, the paper turns deep cyan; where the object blocks light, paper stays white. This tool fakes the look digitally.

X-ray mode strips color entirely — it converts the inverted result to luminance-only and crushes contrast. That's the point: real X-rays show only density, not color. For a tinted invert, use Cyanotype or Darkroom modes.

Intensity blends the result with the original: at 100% you get the full effect, at 50% half-and-half for a faded surreal look, at 0% the original passes through unchanged. Contrast bends the tone curve afterwards, and it now works in every mode — it used to be silently ignored in Cyanotype, Blueprint and X-ray.

Yes — JPG export at full source resolution. Cyanotype and Blueprint modes print especially well on cream paper (the slight off-white softens the deep blue). Straight invert prints best on glossy photo paper for that authentic 35mm-strip feel.