Ten one-click photo looks, from sepia and faded matte to cross-process and Technicolor, with a strength slider so the effect can be as subtle as you like.
Applies a fixed colour recipe to every pixel: a matrix for Sepia and Vintage, channel gains for Cool and Warm, a contrast curve for High contrast and Cross process, a white lift for Faded, and a saturation push for Technicolor. The strength slider then mixes that result back with the original, so 100 percent is the full recipe and 30 percent is a hint of it. Because the recipes are per pixel, a 12-megapixel photo is done in well under a second and the result is exactly repeatable.
A 3000 × 2000 street photo taken at midday with harsh, neutral light: Cross process at 70 percent pushes the shadows towards teal and the highlights towards yellow and lifts the contrast, which reads as a 1990s film look. The same file with Faded at 50 percent and then Add Noise at 15 becomes a matte, disposable-camera frame. For a wedding image, Polaroid at 40 percent warms the skin without the orange cast that 100 percent would give.
Reach for these when a set of photos needs one consistent mood quickly: turn on Batch and every file in the folder gets the same recipe. They are also handy for making a hero image sit back behind text (Faded, Cool). For a real black-and-white conversion with control over how each colour maps, use Grayscale Image or Duotone Effect instead; the Black and white filter here is a plain luminance mix. Avoid High contrast and Technicolor on portraits unless you want the stylised, poster-like result they produce.
Sepia is the classic brown tone; Vintage is Sepia with red brightened by 10 percent and blue cut by 30, which mimics faded colour prints. Cool and Warm shift the white balance without changing contrast. Cross process and High contrast both steepen the tone curve, the former with colour shifts, the latter neutrally. Faded lifts every channel 30 percent towards white. Polaroid is warm and a touch brighter. Technicolor multiplies the channels and then boosts saturation by half again. Strength blends any of them with the original.
Can I stack two filters? Not in one pass, but you can download the result and drop it back in. Warm at 50 percent followed by Faded at 40 percent is a common film-stock look; Black and white followed by a little Sepia gives a split-tone print.
Why does the image look flat after Faded? That is the point of the filter: it lifts the blacks towards white by 30 percent, which is what a matte photo print or an old scan looks like. Lower the strength to 40 or 50 if you want the mood without losing all the shadow depth.
Which filter is closest to a phone camera's portrait modes? Polaroid for the warm, slightly brightened look, Cool for the bluish evening look, and Faded at 60 for the muted film presets. Technicolor is far stronger than any built-in phone filter and works best on already colourful subjects.
Is the original quality kept? Yes. Every pixel is recalculated from the original, no resizing happens, and with PNG or Same on a PNG source the output is lossless. For JPEG output keep quality at 90 or above so the smooth gradients these filters create do not band.