Resize images for Instagram posts, stories and reels

Instagram crops to its own grid when an image is the wrong ratio, and it crops from the centre, which frequently decapitates a subject that was framed off-centre.

Crop-to-fill at the correct ratio before uploading means you decide what gets trimmed, not the algorithm.

Stories and reels are 9:16 while posts are 4:5 — most people batch a week of content, so processing several images at once matters.

Cropping is the cheapest quality decision available: removing the table around a document, the ceiling above a portrait, or the empty margins of a signature costs nothing and makes whatever compression you apply afterwards more effective, because every remaining byte describes something you wanted.

It is also how aspect ratios are honoured. Platforms crop to their own frames when you upload, and they do it without asking — cropping deliberately means you choose what survives.

For document work the payoff is measurable: a signature photographed with three inches of blank paper around it spends most of its file size on the paper, and the portal's byte window is spent on nothing.

This tool exists for images handled in a hurry: no queue, no account, no upload, and a result you can verify on the spot. The explanation below is the same one we would give a colleague who asked how it works.

On a phone, memory is the real constraint rather than any size limit. A 12-megapixel photograph is about 36 MB once decoded into pixels, so compiling a batch of twenty and holding every result in memory at once will get a mobile browser killed well before it runs out of storage. Process batches of ten to fifteen on a phone; on a laptop the same job is unremarkable.

Photographs from phones carry more metadata than most people realise — capture timestamp, camera model, the orientation tag that decides whether the picture displays upright, and often GPS coordinates precise to a few metres. Because every operation on this site writes a fresh file, that metadata does not survive by default. For a photograph of a marksheet or a bank statement, that is a privacy gain; for an archival photograph, note the date before you process it.

Accepted inputs are JPEG, PNG, WebP, AVIF, HEIC, GIF and BMP images up to 50 MB each. SVG, HTML and other script-bearing formats are refused outright rather than sanitised, because a file that can execute code has no business being re-encoded — and an upload field that accepts one is a security hole rather than a feature. Several files can be queued where the workbench supports it. Batch, page and memory limits apply; check every output.

Each preset is a crop-then-scale pipeline: the source is centre-cropped to the target ratio and only then resampled to 1080 px on the short edge. Doing it in that order avoids the softness that comes from scaling first and cropping after. The crop rectangle is mapped from the preview onto the decoded source at full resolution, so no intermediate re-encoding happens between the original and the cropped output. Fixed presets are expressed as ratios rather than pixel sizes, which keeps them valid whatever the source dimensions. Transparency is preserved for PNG output, and EXIF orientation is applied before the crop so a portrait photograph is not cropped on its side. The crop is applied to the decoded source at full resolution rather than to the preview, so the pixels you keep are never a re-encoded copy of themselves. Fixed-ratio presets constrain the frame while you drag, which is what stops the almost-right aspect ratio that platforms crop again on upload to their own standard.