Picture Batch AVIF to JPG
AVIF to JPG
When something will not accept an AVIF, JPEG is the format it will accept — every operating system, every editor, every printer, every piece of software written since the mid-nineties. The trade is that JPEG cannot store transparency and adds a second round of lossy compression on top of the one the AVIF already applied.
Drop AVIF images here
AVIF files — or any of PNG, JPEG, WebP, BMP, ICO, TIFF, GIF or camera raw (CR2, CR3, NEF, ARW, DNG, RAF, ORF, RW2). Everything runs on this device.
Your images never leave this device. They are decoded and re-encoded by your own browser, and the security policy on every page blocks this site from sending them anywhere.
Lossy, no transparency, opens absolutely everywhere, small for photographs.
The standard range for photographs. Hard to distinguish from the original.
Images keep their original dimensions.
JPEG cannot store transparency. Nothing in the queue currently has transparent pixels, so this has no effect yet.
Exif is carried across where both formats can hold it. Nothing currently in the queue has any.
AVIF metadata cannot be read by this tool, so there is nothing to carry across. Orientation is still applied to the pixels.
What happens to your image
The result depends on the quality setting rather than the source. Matching the original file size usually means quality around 80.
| Property | Outcome |
|---|---|
| Transparency | Not preserved: Lost. JPEG cannot store it, so transparent areas are filled with a background colour you choose. This cannot be undone in the output. |
| Image quality | Partly preserved: JPEG is lossy: the image is re-compressed and detail is discarded to make the file smaller. The quality control decides how much. |
| Generation loss | Partly preserved: Both formats are lossy, so this is a second round of compression on top of the first. It cannot restore anything the AVIF already threw away, and at a low quality setting it will add its own losses. |
| Colour | Partly preserved: Converted to sRGB. Decoding an image colour-manages it into the browser's own space, so the output is sRGB and is left untagged, which every viewer reads as sRGB. A wide-gamut source is reported before conversion. |
| Exif metadata | Not preserved: AVIF metadata is not read by this tool, so there is nothing to carry across. |
| Orientation | Preserved: Applied to the pixels, and the tag is reset to upright afterwards so nothing rotates the image a second time. |
| Animation | Not preserved: Only the first frame is converted. Animation is not carried across. |
This is a second compression, so the quality setting matters
The AVIF you are converting has already been through lossy compression once. Encoding the result as JPEG compresses it again, by a different method with different artefacts, and the two do not cancel out. At quality 85 the additional loss is difficult to see on a photograph. Below about 70 it becomes visible on smooth gradients and around hard edges, especially text.
The default here is 85 rather than the 92 some tools use, because 92 produces files large enough that people conclude the conversion did not work, and rather than the 75 others use, because that is visibly worse on the second pass than it is on the first.
Transparency has to go somewhere, and you decide where
JPEG has no alpha channel. Not a limited one — none at all. Every transparent pixel must become an opaque one, and the only question is what colour. Most converters silently pick white, which is right for a document and wrong for anything that will sit on a dark page or a coloured card.
This one asks. Pick the background before converting, and the result records what was used. If the source has no transparent pixels, the control has no effect and says so.
Metadata is dropped, deliberately
AVIF stores Exif in an ISO media item box, which this build does not read, so there is nothing to carry into the JPEG. That means the output has no camera model, no timestamp and no location tag — which is usually what you want when a photo is about to be shared, and worth knowing if you were relying on it being there.
If something goes wrong
The photograph looks slightly soft compared with the original.
Two rounds of lossy compression, as described above.
What to do: Raise the quality. Going from 85 to 92 typically doubles the file size and removes almost all of the visible second-pass loss.
Where the image was transparent, it is now a solid colour.
That is JPEG. There is no alpha channel to store the transparency in.
What to do: Choose a background that matches where the image will be placed, or convert to PNG or WebP instead, both of which keep transparency.
Questions
Is JPG the same as JPEG?
Yes, exactly the same format. The three-letter extension is a leftover from operating systems that could not handle four. Files here are written as .jpg because that is what most software expects to see.
What quality should I choose?
For photographs going onto the web, 80 to 85. For anything containing text or line art, 90 or above, because JPEG handles hard edges badly. For archiving, do not use JPEG at all — use PNG.