The style of an image plays a significant role in how it is viewed, but style has received little attention in computer vision research. We describe an approach to predicting style of images, and perform a thorough evaluation of different image features for these tasks. We find that features learned in a multi-layer network generally perform besteven when trained with object class (not style) labels. Our large-scale learning methods results in the best published performance on an existing dataset of aesthetic ratings and photographic style annotations. We present two novel datasets: 80K Flickr photographs annotated with 20 curated style labels, and 85K paintings annotated with 25 style/genre labels. Our approach shows excellent classification performance on both datasets. We use the learned classifiers to extend traditional tag-based image search to consider stylistic constraints, and demonstrate cross-dataset understanding of style.

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Figure 1: From left to right: our projector-based display showing an HDR image; our LED-based HDR display showing a discrete and a smooth intensity ramp (the top half of the discrete ramp and the bottom half of the smooth ramp have each been covered by a 1% transparent filter to illustrate high luminance content on the left side of the image, which cannot be captured by the camera); a color-coded original HDR image; HDR photograph taken off the screen of our projector-based system; HDR photograph taken off a conventional monitor displaying the tone-mapped image. AbstractThe dynamic range of many real-world environments exceeds the capabilities of current display technology by several orders of magnitude. In this paper we discuss the design of two different display systems that are capable of displaying images with a dynamic range much more similar to that encountered in the real world. The first display system is based on a combination of an LCD panel and a DLP projector, and can be built from off-the-shelf components. While this design is feasible in a lab setting, the second display system, which relies on a custom-built LED panel instead of the projector, is more suitable for usual office workspaces and commercial applications. We describe the design of both systems as well as the software issues that arise. We also discuss the advantages and disadvantages of the two designs and potential applications for both systems.

Countershading is a common technique for local image contrast manipulations, and is widely used both in automatic settings, such as image sharpening and tonemapping, as well as under artistic control, such as in paintings and interactive image processing software. Unfortunately, countershading is a double-edged sword: while correctly chosen parameters for a given viewing condition can significantly improve the image sharpness or trick the human visual system into perceiving a higher contrast than physically present in an image, wrong parameters, or different viewing conditions can result in objectionable halo artifacts. In this paper we investigate the perception of countershading in the context of a novel mask-based contrast enhancement algorithm and analyze the circumstances under which the resulting profiles turn from image enhancement to artifact for a range of parameters and viewing conditions. Our experimental results can be modeled as a function of the width of the countershading profile. We employ this empirical function in a range of applications such as image resizing, view dependent tone mapping, and countershading analysis in photographs and works of fine art.

Without specialized sensor technology or custom, multichip cameras, high dynamic range imaging typically involves time-sequential capture of multiple photographs. The obvious downside to this approach is that it cannot easily be applied to images with moving objects, especially if the motions are complex.In this paper, we take a novel view of HDR capture, which is based on a computational photography approach. We propose to first optically encode both the low dynamic range portion of the scene and highlight information into a low dynamic range image that can be captured with a conventional image sensor. This step is achieved using a cross-screen, or star filter. Second, we decode, in software, both the low dynamic range image and the highlight information. Lastly, these two portions can be combined to form an image of a higher dynamic range than the regular sensor dynamic range.