Everything it does,one at a time.

All of it, top to bottom. We scroll it for you and stitch every screenful together, however long the page runs. Pictures that only load once you reach them get loaded first, so you don't end up with grey boxes where the photographs should be.

The header stays at the top, where it belongs. A bar that follows you down a page would otherwise turn up in every screenful, striping your screenshot with copies of itself. We keep the first one and leave the rest out — cookie banners, chat bubbles and support widgets too.

Gmail, Jira and Notion, all the way down. You know the ones — the page itself never moves, only the middle of it does, and most tools grab that single screenful and give up. We find the panel that is actually scrolling, take it from top to bottom, and leave the bars and sidebars out of the picture.

Just what you can see. Exactly as you've got it scrolled, right now. Nothing scrolls, nothing loads, you just get the shot.

Hover, then click. Move your pointer and the page highlights whatever's underneath it — a card, a table, a chart — with its size beside the box. Click, and that's your screenshot, trimmed to the thing itself.

Drag a box around anything at all. For the times what you want isn't a tidy element on its own: half a chart, the corner of a table, two paragraphs and the picture between them.

See it the way a phone would. Pick a width — phone, tablet, laptop, or type your own — and we ask the page to lay itself out at that size before we photograph it. You get the real phone layout, not a desktop page shrunk down.

Clear the deck before the shot. Shows the door to the cookie banner, the chat bubble and the newsletter pop-up before anything is photographed. Sticky headers are handled as a long page is stitched; this happens first, so they are gone from a plain visible-area shot too.

Three seconds, five, or ten. Waits before it starts, so you can open the menu, hover the tooltip or begin the animation you actually wanted in the picture.

Keep the page, or keep just the words. One self-contained file you can open again in five years, or the text on its own as Markdown. Markdown opens formatted, so you can see the headings and tables came out right before you paste it anywhere.

One bad screenful won't cost you the lot. If part of the page won't come, we try again and then carry on rather than throwing the whole run away. You'll be told how many are missing, instead of quietly handed a shorter page.

It opens where you left off. Whatever you used last is waiting at the top with the cursor already on it, so most visits are click, then Enter. The other five are one click away, with their keyboard shortcuts printed beside them.

Your last twenty, still there. Each one kept with its marks, its crop and its background, in the order you took them. Once you've built a few up, start typing and the list narrows to the ones you meant.

Deleting leaves you a way back. The row turns into an Undo button for a few seconds, so a mis-click costs you nothing. After that it's properly gone.

Six stops, on your first capture. The editor points at its own controls the first time you open one — the tools, the markup rail, the inspector — and then never again. Leave whenever you like.

Everything gets a name. The page's own title to start with, and you can type over it whenever you like. That name is what the file's called, what the window says, and how you'll spot it later.

Give it somewhere to sit. A colour, a gradient, one of the mesh presets, your own picture, or a blurred copy of the screenshot itself. There's a slider to darken it too, for when whatever's in front needs the help.

Nudge it about on the picture itself. Grab either end of a gradient to aim it somewhere else, slide the stops along, double-click to add one. Change the padding or the frame afterwards and it stays exactly where you put it.

Room, rounding and a shadow. Room around your shot, a shape to sit it in, softened corners and something underneath to lift it off the background. The small adjustments that stop a screenshot looking like it was just cropped.

Put it in a window. A macOS window, a Safari window showing your actual address, or a plain edge — each in light or dark. They're drawn rather than pasted in, so they stay sharp however big you export.

Or a MacBook, iPhone or iPad. Drawn the same way, right down to the light catching the top edge. Turn your capture on its side and the phone turns with it — the island and the buttons move round to where they should be.

Write your own title. The window frame picks up the page's title and the Safari frame picks up its address, but you can type over either — or clear it for a bar with nothing on it. The padlock follows whatever you write.

Save a look you like. Background, padding, frame, shadow — all of it under a name, and back in one click. Your marks and crops stay out of it, so last week's arrows never turn up on today's screenshot.

One page at three widths, side by side. Opens the page at 390, 834 and 1280 in turn and puts all three in one picture. A layout review that used to be three screenshots and a lot of dragging them about.

Drag one out, then bend it. There's a handle at each end, so you can curve it round a dialog or double back on itself instead of settling for a straight line. Four different heads, and a shaft that runs solid, dashed or dotted.

Ring the thing you mean. A rectangle, a rounded one, or an ellipse. Grab the grips to resize it, or nudge it into place with the arrow keys.

Run a highlighter over it. Straight across a line, or a whole paragraph. Thin it right down when you need it over a photograph.

The pen stays down. Circle something, tick it, underline a word — it's all one drawing, so you can move it or delete it in one go. Draw quickly and you get a smooth line, not a set of corners.

Write straight onto the picture. Five faces including a handwritten one, lists that number themselves as you go, and an outline for when a label has to sit over something busy. Whatever you pick, the next label starts there.

Number the steps. Each badge counts itself, or type words instead and it grows into a pill to fit them. Delete one from the middle and Renumber tidies up the rest for you.

Black out what shouldn't be there. Drag across the text and each word gets its own bar, in the colour of the words underneath — so it reads as a line taken out rather than a slab dropped on top. We use the page's own word positions, so the bars land on the words, not near them.

We'll find them for you. Reach for Redact and we'll tell you what the page is carrying: two email addresses, one long number, three keys. One press covers every one of a kind. The words themselves never leave the page — all we pass on is the count.

Blur out a face, or a whole panel. Pixelated for good, in the file you export as well as on screen. Use an oval and you hide the face without pixelating the square of page around it.

Things line themselves up. Drag a mark near another one's edge and it lands right on it, with a thin line showing you what it found. Hold ⌥ if you'd rather it didn't.

Grab several at once. Shift-drag across the picture and everything you touch comes with you. Change the colour or the size and it reaches all of them, quietly skipping the ones it doesn't apply to.

Any colour, including the page's own. Seven to hand and a full picker behind them. We also read the colours out of your screenshot, so you can mark it up in the product's own accent without going to look up the hex.

Copy one mark's look onto the others. Colour, thickness, shadow, typeface — all of it, onto everything you've got selected. Each one takes what makes sense for it and ignores the rest.

Not sure what a tool does? Rest on it. A card comes up beside it with the tool actually running: an arrow being drawn and bent, words turning into bars one at a time. None of them are recordings, so what you're watching is always what the tool does today.

Get right in close. Scroll to move around, ⌘-scroll to zoom in wherever your pointer is. We redraw the whole thing at that size, so getting closer shows you more detail rather than bigger pixels.

Change your mind afterwards. You can't know you only wanted the middle third until you've seen the whole page. Pull the edges in — the rest of the shot stays visible behind, so you can see what you're leaving out — and Whole page hands it all back whenever you want it.

Take the middle out. Drag a band across the capture and it goes, with everything below moving up to close the gap. The only edit that makes the picture genuinely shorter, rather than just showing less of it.

⌘Z takes back whatever you just did. Marks and styling share one history, so it works the same whether that was an arrow, a nudge of the padding or a whole preset. Whatever comes back arrives selected, ready to carry on with.

It follows your system. Or you override it in the top bar. This changes the editor and nothing else — the picture is drawn from its own settings, so working in the dark never darkens what you export.

Contrast, motion, outlines, scale. Four settings that bend the editor to suit you, with one reset that puts them all back. Reduced motion is honoured whether you ask for it here or in your system settings.

In the order the picture is made. It runs in the order you actually work: styles, then background, frame, layout, and export last, right above Download. Sections fold away and stay folded, telling you what is inside while they are shut — and you can pull the whole panel wider, or hide it and just look at the picture.

Refresh, and it is all still there. The capture, the marks and every setting survive a reload of the editor — so a stray ⌘R halfway through a careful piece of markup is an inconvenience rather than a disaster.

Turn a long page into a video. Choose the shape you need it in, how long it takes, whether it pauses at each end and whether it loops. It plays as you set it, so you can get the timing right before you export a thing.

Let your marks arrive one at a time. Numbers can turn up as the video reaches them rather than all sitting there from the first frame. Change the length later and the whole sequence re-times itself to fit.

PNG, JPEG, WebP or PDF. At normal, double or triple size, or straight to your clipboard. If a setting would hand you something different from what's on screen — a format with no transparency, say — we'll tell you before you send it to anyone.

GIF or MP4. GIFs come out around a tenth of the size they otherwise would, because we only keep what changes between frames. MP4 gets a quality slider and tells you roughly how big the file will be.

Mail, Messages, AirDrop, Notes. Send the picture straight to where it is going, instead of downloading it into a folder you then have to go and find.

Pick it up and drop it in. The thumbnail in the footer is the file. Drag it into a mail draft, a chat, a design tool or the desktop without saving anything first.

None of it leaves your machine. No account, no server, nothing uploaded anywhere. Your captures are stitched, edited and encoded right where you are.