Put your product into any photo

Nothing is uploaded

Background removal, tone matching, shadow and compositing all run inside this browser tab. Neither image leaves your device, there is no account, and there is no retention policy to trust — you can verify it in the network tab. That matters for product photos specifically: unreleased items, packaging revisions and embargoed collaborations are exactly the images people hesitate to upload to a free tool. The costs are honest ones: the first run downloads a background-removal model, so there is a wait once; very large images are limited by the tab's memory; and closing the tab loses the work.

The three corrections that matter

• The cutout. A segmentation model separates the product from its backdrop. Reliable for solid objects on a plain background; still hard for hair, fur, transparency and reflective edges — a glass bottle has no clean boundary because the background is visible through it.
• Tone matching. The step most tools skip and the one that gives a fake away fastest. A product shot under studio strobes is neutral; a room is warm from tungsten or cool from a window. Left unmatched, the product reads as a sticker even when the cutout is perfect.
• The contact shadow. Without one, an object floats no matter how cleanly it was cut. A soft gradient where the product meets the surface supplies the evidence of contact the eye is looking for. Subtle beats accurate — an overdone shadow is more conspicuous than none.

You place it, not the algorithm

Click where the product goes and set its size with the slider. Automatic placement is technically possible and usually wrong, because the person composing the image has an intent the algorithm cannot see: which part of the scene stays visible, where the product sits relative to a hand, how much negative space the layout needs. A click communicates all of that instantly. We automate what is tedious and objective, and leave what encodes intent to you.

Shooting for a good composite

• Match the camera angle first. A product shot from above cannot be composited convincingly into a scene shot at eye level — perspective is the one mismatch no post-processing fixes.
• Keep light direction consistent. Scene lit from the left, product lit from the right will look wrong even with tone matching and a shadow.
• Use a contrasting backdrop. White product on white background is the hardest case for segmentation; mid-grey gives a much cleaner edge.
• Check the edges at 100%. Segmentation artefacts hide at thumbnail size and appear on a retina display.

What this does not replace

Hero shots still want a studio: controlled light on the actual product, with the reflections and material response real light produces. Compositing moves a good product photo into a new context — it does not improve a bad one. Physical interaction (a hand gripping the product, fabric draping over it, liquid poured into it) needs the object and the scene photographed together. And listing images are expected to represent the product truthfully: a composite implying a scale, colour or accessory that differs from reality is a problem however it was made.

Where it wins

Volume and iteration. Forty listings that each need the same product in a different context; a dozen background options to compare before committing to a shoot; a seasonal refresh that would otherwise mean rebooking a studio. If you also need the packaging text localized, Image Translator replaces text in an image while keeping its layout.