Convert TIFF to SVG

Only up to a point, and it is worth setting expectations first. Tracing turns pixel regions into paths, which works well for logos, line art and flat-colour graphics with clear boundaries. A photograph has no such boundaries, so the trace yields either a crude posterised approximation or an SVG with tens of thousands of paths that is larger and slower to render than the original. SVG cannot represent a photograph — tracing one produces either a crude approximation or a file larger than the original raster.

They are flattened, permanently, into one composited image. Blend modes, masks, adjustment layers and editable text are all resolved into final pixels because SVG has no structure to hold them. Keep the TIFF as the working master and treat the SVG strictly as an export. TIFF handles CMYK, 16-bit depth, embedded ICC profiles and multi-page documents, which is exactly what print and archival workflows require.

It is converted to sRGB, because SVG has no CMYK mode. For screen use that is exactly what you want. For commercial print it is not — the gamut shift changes how saturated colours reproduce on press, so send the printer the original TIFF rather than the SVG.

By default yes, wherever the target has somewhere to put it — camera model, exposure settings, lens and GPS coordinates all carry across. GPS is the field worth thinking about: if the image is going to be published, use the strip-metadata option so you are not broadcasting where the photo was taken. TIFF is the Tagged Image File Format from 1986, and it is the format scanning, publishing and archiving industries standardised on.

In an SVG, text is real text — selectable, searchable and re-styleable, and it needs the font to be available or embedded to render as intended. Converting away from SVG turns that text into pixels or into document text depending on the target; converting towards SVG only produces real text if the source had a text layer to begin with.

No pixel data, no. Both formats store the image without lossy compression, so the picture that comes out is identical to the one that went in and the conversion can be repeated indefinitely. What changes is file size, and which features travel — colour depth, embedded profiles, layers and animation are all supported unevenly between lossless formats. TIFF is a container more than a codec: it can hold uncompressed, LZW, ZIP or even JPEG data, at up to 32 bits per channel, with multiple pages in one file. An SVG stores shapes as mathematical paths and text as text, not as pixels, so it is a document rather than a raster grid.

Transparency survives when going to PNG, WebP, TIFF, GIF, or SVG. Converting to JPG flattens the alpha channel against a white background — if you need transparency, target a transparency-aware format instead of SVG.

Embedded ICC color profiles are read from the source TIFF and re-attached to the SVG output where the format supports it (JPG, PNG, TIFF, WebP). Formats without profile support fall back to sRGB.

Camera EXIF (ISO, shutter, lens, GPS) is preserved by default during TIFF → SVG conversion when both formats support metadata. Use the privacy option to strip metadata before download if you want to share images without geolocation.

Yes — drag multiple TIFF files into the upload zone and we queue them in parallel. Free users get 100MB per file; Premium has no per-file cap and runs more parallel workers, so a 200-image batch typically finishes in under two minutes.

For straightforward format conversion we run the same libpng / libjpeg-turbo / libwebp / ImageMagick pipelines a desktop editor uses, with the same quality. The difference is that desktop tools open one file at a time; we accept a batch and run them in parallel.