Color Temperature Editor
Warm a photo up or cool it down in real Kelvin, fix a colour cast with one click on something grey, and keep the picture as bright as it started.
or browse filesdrop an image here or paste
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Warm a photo up or cool it down in real Kelvin, fix a colour cast with one click on something grey, and keep the picture as bright as it started.
or browse filesdrop an image here or paste
Unchanged, the picture as it was shot
Colour temperature is the difference between a photo that feels like a lamp-lit room and one that feels like an overcast afternoon. Drop a picture on the page and drag the Temperature slider: right warms it toward orange, left cools it toward blue, and the preview follows as you drag. The Tint slider under it handles the other axis, green against magenta, which is what a fluorescent or LED cast needs and what temperature alone cannot fix.
Two buttons on the image do the work for you. Auto reads the whole picture and sets both sliders to take the cast out. The grey picker is the precise one: turn it on, click something in the photo that ought to be neutral, a white wall, a grey road, a sheet of paper, and the sliders move to make exactly that thing neutral. Hold the compare button to see the original at any time.
Drop a JPG, PNG or WebP onto the page, or paste one from the clipboard. Drag Temperature and Tint, or press Auto, or pick a grey point. Download as PNG for a lossless file, or JPG or WebP for a smaller one. Everything runs in your browser: the image is never uploaded, there is no signup, and no watermark is added.
Most warm and cool filters are a wash of orange or blue over the picture. This one is built from the physics. For any temperature the tool works out the colour a black body glows at, which is what "colour temperature" actually means, converts it into the red, green and blue of your screen, and compares it against 6500 K, the white that images are defined against. The result is the amount each channel is scaled by. So the readout is not a made-up number from 1 to 100: at 3,900 K the picture really is being lit the way a warm bulb lights a room, and at 9,000 K it really is the blue of open shade.
That is also why the Kelvin figure counts down as you warm the picture up. Warm light has a low colour temperature and cool light has a high one, which feels backwards the first time you meet it and is the single most confusing thing about the subject. Candle flame is about 1,900 K, a warm household bulb 2,700 K, midday sun around 5,500 K, an overcast sky 7,000 K and deep shade 9,000 K and up. The slider track is painted with those colours so you never have to remember which way is which.
The slider steps in mireds rather than degrees, which is the unit warming and cooling filters have been sold in for decades. A mired is a million divided by the temperature, and equal steps of it are equal steps of visible change. It is why moving the slider 30 to the left and 30 to the right shifts the picture by the same visible amount, where 1,000 K in each direction would not come close.
White balance is the job, colour temperature is one of the two dials. A camera guesses what colour the light was and neutralises it; when it guesses wrong you get the orange indoor photo or the blue snow photo. Correcting that here means moving the temperature the other way until the neutral things in the frame look neutral.
The fastest way is the grey picker, because it does not have to guess: you tell it which pixel should be colourless and it solves both sliders for you. Auto works differently, on the assumption that the average of a whole picture should be grey, which is true of most scenes and untrue of a photo that is mostly sky, grass or one bright wall. When Auto reads a scene wrong, pick a grey point instead, or just drag until it looks right, since your eyes are the instrument that matters.
A colour temperature change is a gain: each channel is multiplied, not added to. That matters more than it sounds. Adding a fixed amount of red to warm a photo lifts pure black to dark red and turns the shadows to mud, and it flattens the bright end at the same time, which is exactly what the old generation of online warming filters did. Multiplying leaves black alone, because black has no light in it to scale, and it keeps every colour in proportion so nothing shifts hue on the way.
The gains are also divided by their own brightness before they are used, so warming or cooling a picture does not make it lighter or darker. If you want that too, the exposure tool works in camera stops and the lighten image tool lifts a dark photo without blowing out the highlights.
Warm it up for skin, food, interiors, wood, sunsets and anything shot in the shade that came out grey and lifeless. A little warmth is the whole of what most portrait and restaurant photography does in post. Cool it down for a photo shot under tungsten bulbs that came out orange, for snow and overcast scenes that should read crisp rather than yellow, and for product shots on white where the background has to be white.
It is worth going a little further than looks right and then coming back, because your eye adapts to a cast within seconds of looking at it. Hold the compare button and the original will often look far more orange or blue than you remembered.
The preview and the download run the same gains over the pixels, so what you see is what you save, at the full resolution of the file you loaded. With both sliders at their defaults the image passes through untouched, byte for byte. Transparency is kept, so a PNG with a transparent background stays transparent.
All of it happens on your device through the canvas API, so no image is transmitted anywhere and the page keeps working offline once it has loaded. For related edits there is the color grading tool for separate shadow, midtone and highlight colour, the hue shifter to rotate colours, the image tinter to cast a photo toward one colour, and the contrast editor.
Open the picture here and drag the Temperature slider: right for warmer, left for cooler. The readout shows the temperature in Kelvin and says in words how far the picture has moved. Then download as PNG, JPG or WebP at the original resolution. No account, no upload, no watermark.
Drag Temperature to the right to warm a photo toward orange, to the left to cool it toward blue. Small moves do more than you expect: 20 or 30 either way is a normal correction, and the ends of the slider are for a deliberate look rather than a fix. Add a little Tint if the cast is more green or pink than orange or blue.
Around 5,500 to 6,500 K is neutral daylight and is where most photos should sit if they are meant to look natural. Warmer than that, near 4,000 to 5,000 K, reads as golden hour and flatters skin and food. Cooler than 7,500 K reads as overcast or shade and suits snow, technical shots and anything that should feel crisp. There is no correct value, only what the picture is supposed to feel like.
Cool it: drag the Temperature slider left until the white things in the frame look white. Faster still, turn on the grey picker and click a wall, a shirt or a sheet of paper that you know is neutral, and both sliders will be set for you. Auto will usually get close on its own. A heavy cast, the kind you get shooting under orange bulbs with the white balance locked to daylight, may not come all the way back: a JPG has already thrown away most of the blue in that scene, and pulling what is left up far enough brings the noise with it.
Because that is how colour temperature works. A low temperature glows orange, like a candle at 1,900 K or a household bulb at 2,700 K, and a high one glows blue, like an overcast sky at 7,000 K. Note that a raw editor such as Lightroom uses the same numbers to mean the opposite thing, the temperature of the light the shot was taken under, so raising the number there warms the picture. Here the number is the light the picture is being rendered under.
They are the two axes of white balance. Temperature runs from orange to blue and fixes the common casts from bulbs, sun and shade. Tint runs from green to magenta and fixes what is left, which is mostly fluorescent tubes, cheap LEDs and light that has bounced off grass or a green wall. Most photos need only the first; a photo that still looks off after the temperature is right needs the second.
Yes. JPG, PNG and WebP all load, including photos straight off a phone, and you can paste from the clipboard. Transparency is preserved and the alpha channel is never touched. The download is full resolution and can be a different format from the file you loaded.
No. The image is decoded, adjusted and encoded in your browser, at preview and at full download resolution alike. Nothing is sent to any server, and the tool keeps working with the network disconnected once the page is open.