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Remove the background from a photo

Subject kept, everything else replaced with a clean plain backdrop. The hard part of a cut-out has always been hair and soft edges, and this approach does not produce a matte edge at all.

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See it before you uploadDrag to compare
The same portrait on plain white, every curl and stray hair still there
A portrait of a woman with short curly hair against a grey studio wall
BeforeAfter
One instruction: “Remove the background completely, replace with plain white” — 15 seconds, no masking, no layers.

Remove a background on your kind of photo

Each pair below shows the result targeted by the instruction beside it. Drag the divider to check it against the original.

Hair, fur and feathered edges

Nothing is cut out and no matte is computed, so there is no halo of the old background and no chewed edge. This is where the approach earns its keep.

InstructionRemove the background completely, replace with plain white

The same cat on plain white, the wispy fur and the whiskers at the edges intact
A long-haired cat backlit against a dark room, its coat rimmed with light
BeforeAfter

Remove versus replace

These are two different jobs and it is worth knowing which you want. Removing gives you the subject on a plain backdrop. Replacing puts the subject into a described scene — that is a different page, and it is linked below.

For product listings, avatars, catalogue images and anything that has to sit on a page you control, removal onto plain white or plain grey is what you want. It composites onto whatever the destination background is.

A note on transparency: the result is delivered as an image with a plain backdrop rather than as a PNG with an alpha channel. For most uses — a marketplace listing, a slide, a document — a plain white backdrop behaves identically. If you specifically need true transparency for layering, this is not that.

Why hair works better here

A conventional background remover computes a matte: a per-pixel judgement about how much of each pixel is subject. Hair is where this breaks, because a single pixel at the edge of a strand is genuinely part subject and part background, and getting it slightly wrong produces either a halo of the old background or a chewed edge.

Because the whole frame is repainted rather than separated, there is no matte to compute and no halo to leave behind. Flyaway strands, fur, feathered edges and motion-softened outlines survive noticeably better.

The trade-off is that the subject is re-rendered rather than preserved pixel-for-pixel. For a portrait or a product shot this is not noticeable. If you need the subject bit-identical to the original, this is the wrong tool.

Getting a usable cut-out

Name the backdrop colour. "Remove the background, replace with plain white" is more predictable than an unqualified removal, which may give you grey or a soft gradient.

For product photos, plain white is the safest choice — most marketplaces require or prefer it, and it composites onto anything.

Say which subject if there is more than one candidate. "Keep the vase and remove everything else" resolves it. Without that, the model chooses the most prominent object, which is not always the one you meant.

Reflective and transparent objects need checking. A glass bottle removed onto white still contains a reflection of the old room, and the model does not always clean this up.

Working through a set of images

Consistency across a set matters more than perfection on any single image. A row of product photos where the backdrops are subtly different shades of white looks worse on a listing page than a row that is uniformly slightly grey.

The way to get that is to use the same instruction word for word on every image in the set. Rewriting it between images, even in a small way, moves the result. Keep the wording and paste it each time.

Shadows are the other half of consistency. Decide up front whether your set has a contact shadow under the subject or none at all, state it in the instruction, and keep that decision for the whole set. Mixed shadow treatment is the thing that makes a grid look assembled from different sources.

Free use without an account is 12 credits, spent once, so a set of any size is a case for an account. 12 credits a day cover a small catalogue over a few sittings, and commercial use — which is what a product listing is — needs Pro or above regardless of volume.

Cost, limits and privacy

12 free credits without an account, spent once. An account adds 12 fresh credits every day. No watermark on any tier, because this is an edit of your own photo.

Commercial use — which is what most product photography is for — is covered from Pro up. Free results are for personal use.

Uploads are deleted when processing completes and result links expire on their own. Up to 10 MB in JPG, PNG or WebP.

Questions people ask

Do I get a transparent PNG?

No. The result comes back on a plain backdrop rather than with an alpha channel. For a listing, a slide or a document a plain white backdrop behaves the same way, but if you need true transparency for layering, this is not that.

How does it handle hair?

Better than a conventional remover, because nothing is cut out and no matte is computed, so there is no halo or chewed edge. Flyaway strands and fur survive well.

Can I use the result for a product listing?

Yes, and plain white is the backdrop to ask for since most marketplaces prefer it. Commercial use is covered from Pro up; free results are for personal use.

It kept the wrong object. How do I fix that?

Name the one you want: "keep the vase and remove everything else". Without that the model keeps whatever is most prominent, which is not always what you meant.