Notes from the team on craft, formats, and the small decisions behind a good round crop.
How a single JPG becomes a WebP, and what shifts for several
Drop one JPEG and here is the chain inside your browser. The file is read into memory, the compressed bytes are turned back into raw pixels by the built-in JPEG reader, those pixels are laid onto a working surface off-screen, and the platform is asked to emit them once more in WebP form. What returns to you is a fresh WebP, offered as a download, with every link of that chain living on your own machine so nothing touches the network for a single image. Our 17 KB JPEG at 1024 by 768 closed the loop in roughly 54 milliseconds on Chromium, while a 116 KB photo at 3840 by 2160 wanted about 550 milliseconds. When you hand over several at once the shape changes: the files travel to our server, get rebuilt together, and come back as one archive whose link clears in about 2 hours.
EXIF and metadata across the conversion
A JPEG can haul a real load of metadata. EXIF records the camera, the GPS spot, shutter speed, and which way is up. IPTC fields carry the credit line and caption. XMP packets keep a log of edits, and ICC profiles hold the colour management. The conversion here preserves not a single one of them. What lands is a tidy WebP holding only the visible picture. That is the ordinary outcome for any tool that paints through the browser, identical across Chromium, Firefox, and WebKit. For most publishing it counts as a win, shaving a few bytes while keeping GPS and personal data out of a public image. Where one field truly has to survive, usually orientation, rotate the photo first or pass it through a metadata-aware editor beforehand. Do not rely on this tool for archival work that needs the original metadata intact.
WebP against JPEG: a different compression idea
JPEG carves an image into 8 by 8 squares and runs a Discrete Cosine Transform, turning spatial detail into frequencies, then leans harder on the high ones. WebP takes a prediction idea from VP8 video: each square is guessed from neighbours already decoded, and only the leftover gap is stored. That tends to leave fewer blocky marks at the same weight, above all on gentle gradients and skin where JPEG's grid can surface as a visible quilt. On a photo at high quality, past q80, the eye seldom spots the gap, yet the weight saving holds firm. Down at lower quality, under q60, WebP pulls further ahead and the artifacts shift character: WebP melts into a soft blur while JPEG flashes its blocks. Neither leads on every shot, and dense textures like foliage can come out close to even in both.
Core Web Vitals and the reason to switch
LCP, short for Largest Contentful Paint, times how quickly the largest visible element settles into view. On a typical marketing page that element is the hero photo, and Google has stated plainly that Core Web Vitals shape Search ranking. A 300 KB hero JPEG can shove LCP past 2.5 seconds on a mid-range phone connection. Re-saved as a roughly 180 KB WebP, the same hero often slides LCP back under that line with nothing else touched. Now multiply: a page with six JPEGs adding up to 1.2 MB can drop 300 to 400 KB by going WebP, which speeds the first real paint over slow links. CDNs that negotiate content even hand WebP to compatible browsers by themselves, so once the originals exist there is no per-image chore left.
WebP support in 2026 and the thin gaps
Tallying support in 2026, WebP decodes from Chrome 17, Firefox 65, Edge 18, Opera 11.10, and Safari 14 on iOS 14 and macOS Big Sur. By caniuse.com the combined decode reach passes 97 percent of browser traffic. What remains is mostly Internet Explorer 11, Safari 13 on Catalina, and a thin trail of very old Android browsers. For nearly every public project, handing WebP to all comers is safe. Should total reach be the aim, an HTML picture element names a WebP source next to a JPEG fallback in one tag, and the browser claims whichever it can read. CDNs carrying image optimisation read the Accept header and settle the format on their own, sparing you any browser-by-browser checking done by hand.
The times WebP is the wrong pick
For modern web delivery WebP is right, yet a few well-worn cases call for something else. The print room wants CMYK, which WebP does not carry, leaving JPEG and TIFF as the press standards. Mail is uneven, with Gmail and Apple Mail rendering WebP while Outlook on Windows declines. Sharing services split too: Drive, Dropbox, and GitHub display it, but plenty of social platforms, stock libraries, and shop systems quietly flip incoming images back to JPEG, voiding the WebP step. Editors stay patchy, since Lightroom, Capture One, and Affinity Photo open WebP while many plugins and export presets still reach for JPEG by habit. Whenever images pass through third-party systems beyond your control, keep a JPEG master and convert to WebP only at the final delivery step.