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GRAYSCALE
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Tool guide
Each pixel gets a single brightness value computed from its colour channels, and all three channels are filled with that number: colour disappears while tonality survives, from black to white through 254 intermediate steps. That is how illustrations are prepared for monochrome printing in a thesis or a report, how a row of mismatched partner logos is unified on a slide, and how you check whether a layout still holds contrast without relying on hue. See also: hard black and white with threshold and dithering, invert the colours of the shot, compress the grey version before publishing.
Grayscale keeps 256 brightness levels, so sky, skin and shadow stay distinct in tone. True black and white keeps two values — a pixel is either black or white, decided by a threshold or by dithering. If you need that harder look, use the dedicated threshold-and-dithering tool instead.
No. Three numbers per pixel collapse into one and the colour information is destroyed for good; no editor can reconstruct the original hue from brightness alone. Keep the source file. The tool hands you a new image and never touches the one you loaded, but it does not keep a copy either.
Because the contrast in the frame lived in hue rather than brightness: a red and a green of equal lightness turn into almost the same grey. No converter fixes that — the fix belongs to the source. Shoot against a background of different lightness, or differentiate lines by weight and dash before desaturating.
The alpha channel is not a colour channel, so the brightness pass leaves it alone and PNG transparency survives. EXIF does not survive, though: the image is redrawn through a canvas and comes out as clean raster with no capture date, camera model or GPS coordinates attached.
For black-and-white laser output and single-ink offset, yes — but the file stays in sRGB rather than a Gray Gamma space. The print shop will convert it to their own profile anyway, and midtones may thicken in the process. Judge a physical proof at final size rather than the on-screen preview.
The page imposes none, but browsers cap the maximum canvas area, and the ceiling in Safari on iOS is noticeably lower than on desktop. Phone photos convert normally; if you get a blank or black file back instead of a result, resize the image first or open the tool on a computer.
Before: Colour chart with a red line and a green line
After: Grey version where both lines land at nearly the same brightness — they need different dash patterns
Before: Eight logos, each in its own brand colour
After: Eight grey versions; the slide stops shouting and reads as one block
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