Why join instead of overlap
There is a whole family of things people mean by putting two pictures together, and they are not the same job. Mixing two frames into each other so both show through at once is one of them. Placing a small element on top of a photograph, with its own edges, is another. This site does neither. Here the pictures keep their own space and touch along a straight edge: two photographs side by side, four in a square, twenty stacked into a column. Nothing covers anything, so nothing is lost, and every original pixel is still in the file you save.
The one exception proves the rule. Scrolling captures of the same page do repeat each other along the join, and the whole point of the long-screenshot mode is to find those repeated rows and cut them out so the seam disappears — which is still a join, just one that has to do some measuring first.
Four steps, in order
The rail across the top of the tool is a map, not a gate. Every step is clickable at any time and going back costs nothing, so you can settle the order, look at the result, and change your mind about the sizing three times without losing anything.
- Pictures. Drag them in, pick them, or paste one straight off the clipboard. Order is settled here — by filename with the numbers read as numbers, by the time each was taken, by dragging, or reversed in one click.
- Join. One row, one column, a grid, or one long screenshot. This step changes what the next one asks and nothing else moves.
- Fit. The step where a join is won or lost, because pictures are almost never the same size. Sizing policy, alignment, the gap between and around, and the colour behind it all.
- Save. PNG, JPEG or WebP, with the finished dimensions and a rough file size updating as you go.
What you look at on screen is a smaller drawing of exactly the arrangement that gets saved — same order, same crops, same rounding, one scale factor apart. That is deliberate: nothing you approved is allowed to change on the way out.
What you can feed it
JPG, PNG, WebP and GIF open everywhere. TIFF, BMP and ICO open in most places. HEIC — what an iPhone shoots unless it has been told otherwise — opens through a decoder that is fetched only when a HEIC actually turns up, so nobody else pays for it. Up to a hundred files, 120 MB each.
A few things are quietly put right on the way in. Everything is converted to sRGB when it is read, because a wide-gamut photograph joined to an ordinary one shows its colour shift exactly at the seam, which is the most visible place it could possibly appear. Sideways phone photographs are turned upright from the tag the camera wrote — one picture on its side in a row of six is impossible to miss. A CMYK scan converts approximately and says so. An animated GIF contributes its first frame. And a file that will not open is named individually while the rest of them join as normal.
None of it goes anywhere. We never see the screenshots you put together; the joining happens inside this tab, and the only file that goes anywhere is the one you save at the end.
Common snags
My two photographs are different heights. What happens to the shorter one?
Whatever you tell it to. Step three offers four answers: grow everything to the tallest, shrink everything to the shortest, match whichever picture is first in the tray, or scale nothing at all and let the ground colour fill the gap beside the shorter one. There is no right answer — matching the tallest keeps detail and softens the small picture, matching the shortest keeps everything sharp and throws pixels away.
A repeated band still shows where two screenshots meet. Can I fix it by hand?
Yes, and it takes about five seconds. Each seam has its own slider and its own full-size view of the joint, so you drag until the repeated rows disappear and the text runs straight through. A seam you set by hand is never touched again by the detector.
Can I put a gap between the pictures instead of having them touch?
You can. The gap starts at zero because pictures touching is what this site is for, but step three has a gutter in pixels for the space between them and a margin for the space around the outside. Whatever colour you chose for the ground is what shows through both.
I chose a see-through ground and the saved file came out white. Why?
Because it was saved as JPEG, and JPEG has no channel for see-through at all — every transparent pixel has to become some colour, and white is the one browsers pick. PNG and WebP both keep it. The step-four panel says so before you save rather than after.
How many pictures can go into one join?
A hundred, at up to 120 MB each. The real ceiling arrives sooner than that and it is your browser's rather than ours: a canvas stops at about 32,767 pixels on a side, and six phone screenshots stacked can pass 15,000 without trying. If a join goes past what can be drawn, the tool says so and stops instead of handing back something truncated.
The tray put IMG_10 before IMG_9. How do I get the real order?
It shouldn't — filename order here counts the numbers rather than the characters, so IMG_9 lands first. If the names carry no useful order at all, sort by the time each picture was taken instead, or drag the thumbnails: hold Alt and press left or right and the picture you are standing on moves with you.
Stitching works when the pictures are the same width and the content sat still. It won’t cope with a sticky header that changes as you scroll, a video mid-page, or captures taken at different zoom levels. If a seam looks wrong, drag it — you’ll beat the detector in about five seconds.
And the join is measured in pixels, never in kilobytes. We will tell you exactly how big the result is and roughly what the file will weigh, but there is no setting here that hunts for a size on disk — that is a different job with a different tool, and pretending otherwise would only make this one worse at the thing it does.
Picking the file at the end
Three formats come out of step four and the choice is not a matter of taste. PNG stores every pixel exactly as it was drawn, which is why a joined pair of screenshots stays crisp in it and why the file is the heaviest of the three. JPEG throws information away on purpose, and it throws it away hardest at hard edges — so a seam between two photographs survives it happily, while a seam running through a line of text can pick up a faint shimmer along the join. WebP sits between them: much lighter than PNG, still able to hold a see-through ground, and occasionally refused by an older piece of software that will accept the other two without complaint. The readout under the preview updates as you switch, so the trade is visible before you commit to it rather than after.
Where to go from here
Five other pages, and each of them exists because a question kept coming back. One narrows the tool to the job most people actually want; three take an awkward part of a join and work it through properly; the last is the way into all three.