Figure 1: Given an input image with a missing region, we use matching scenes from a large collection of photographs to complete the image. What can you do with a million images? In this paper we present a new image completion algorithm powered by a huge database of photographs gathered from the Web. The algorithm patches up holes in images by finding similar image regions in the database that are not only seamless but also semantically valid. Our chief insight is that while the space of images is effectively infinite, the space of semantically differentiable scenes is actually not that large. For many image completion tasks we are able to find similar scenes which contain image fragments that will convincingly complete the image. Our algorithm is entirely data-driven, requiring no annotations or labelling by the user. Unlike existing image completion methods, our algorithm can generate a diverse set of results for each input image and we allow users to select among them. We demonstrate the superiority of our algorithm over existing image completion approaches.

Figure 1: A seam is a connected path of low energy pixels in an image. On the left is the original image with one horizontal and one vertical seam. In the middle the energy function used in this example is shown (the magnitude of the gradient), along with the vertical and horizontal path maps used to calculate the seams. By automatically carving out seams to reduce image size, and inserting seams to extend it, we achieve content-aware resizing. The example on the top right shows our result of extending in one dimension and reducing in the other, compared to standard scaling on the bottom right. Effective resizing of images should not only use geometric constraints, but consider the image content as well. We present a simple image operator called seam carving that supports content-aware image resizing for both reduction and expansion. A seam is an optimal 8-connected path of pixels on a single image from top to bottom, or left to right, where optimality is defined by an image energy function. By repeatedly carving out or inserting seams in one direction we can change the aspect ratio of an image. By applying these operators in both directions we can retarget the image to a new size. The selection and order of seams protect the content of the image, as defined by the energy function. Seam carving can also be used for image content enhancement and object removal. We support various visual saliency measures for defining the energy of an image, and can also include user input to guide the process. By storing the order of seams in an image we create multi-size images, that are able to continuously change in real time to fit a given size.

This paper concerns the problem of fully automated panoramic image stitching. Though the 1D problem (single axis of rotation) is well studied, 2D or multi-row stitching is more difficult. Previous approaches have used human input or restrictions on the image sequence in order to establish matching images. In this work, we formulate stitching as a multi-image matching problem, and use invariant local features to find matches between all of the images. Because of this our method is insensitive to the ordering, orientation, scale and illumination of the input images. It is also insensitive to noise images that are not part of a panorama, and can recognise multiple panoramas in an unordered image dataset. In addition to providing more detail, this paper extends our previous work in the area (Brown and Lowe, 2003) by introducing gain compensation and automatic straightening steps.

Optimization techniques based on graph cuts have become a standard tool for many vision applications. These techniques allow to minimize efficiently certain energy functions corresponding to pairwise Markov Random Fields (MRFs). Currently, there is an accepted view within the computer vision community that graph cuts can only be used for optimizing a limited class of MRF energies (e.g. submodular functions). In this survey we review some results that show that graph cuts can be applied to a much larger class of energy functions (in particular, non-submodular functions). While these results are well-known in the optimization community, to our knowledge they were not used in the context of computer vision and MRF optimization. We demonstrate the relevance of these results to vision on the problem of binary texture restoration.

Figure 1: Our heterodyne light field camera provides 4D light field and full-resolution focused image simultaneously. (First Column) Raw sensor image. (Second Column) Scene parts which are in-focus can be recovered at full resolution. (Third Column) Inset shows fine-scale light field encoding (top) and the corresponding part of the recovered full resolution image (bottom). (Last Column) Far focused and near focused images obtained from the light field. We describe a theoretical framework for reversibly modulating 4D light fields using an attenuating mask in the optical path of a lens based camera. Based on this framework, we present a novel design to reconstruct the 4D light field from a 2D camera image without any additional refractive elements as required by previous light field cameras. The patterned mask attenuates light rays inside the camera instead of bending them, and the attenuation recoverably encodes the rays on the 2D sensor. Our mask-equipped camera focuses just as a traditional camera to capture conventional 2D photos at full sensor resolution, but the raw pixel values also hold a modulated

Figure 1: Starting with a present day photograph of the famous Abbey Road in London (left), a person using our system was easily able to make the scene much more lively. There are 4 extra objects in the middle image, and 17 extra in the right image. Can you spot them all? We present a system for inserting new objects into existing photographs by querying a vast image-based object library, precomputed using a publicly available Internet object database. The central goal is to shield the user from all of the arduous tasks typically involved in image compositing. The user is only asked to do two simple things: 1) pick a 3D location in the scene to place a new object; 2) select an object to insert using a hierarchical menu. We pose the problem of object insertion as a data-driven, 3D-based, context-sensitive object retrieval task. Instead of trying to manipulate the object to change its orientation, color distribution, etc. to fit the new image, we simply retrieve an object of a specified class that has all the required properties (camera pose, lighting, resolution, etc) from our large object library. We present new automatic algorithms for improving object segmentation and blending, estimating true 3D object size and orientation, and estimating scene lighting conditions. We also present an intuitive user interface that makes object insertion fast and simple even for the artistically challenged.

Image analysis and enhancement tasks such as tone mapping, colorization, stereo depth, and photomontage, often require computing a solution (e.g., for exposure, chromaticity, disparity, labels) over the pixel grid. Computational and memory costs often require that a smaller solution be run over a downsampled image. Although general purpose upsampling methods can be used to interpolate the low resolution solution to the full resolution, these methods generally assume a smoothness prior for the interpolation. We demonstrate that in cases, such as those above, the available high resolution input image may be leveraged as a prior in the context of a joint bilateral upsampling procedure to produce a better high resolution solution. We show results for each of the applications above and compare them to traditional upsampling methods.

(a) input (b) sample possible renditions: bright and sharp, gray and highly detailed, and contrasted, smooth and grainy Figure 1: This paper describes a technique to enhance photographs. We equip the user with powerful filters that control several aspects of an image such as its tonal balance and its texture. We make it possible for anyone to explore various renditions of a scene in a few clicks. We provide an effective approach to æsthetic choices, easing the creation of compelling pictures. We introduce a new approach to tone management for photographs. Whereas traditional tone-mapping operators target a neutral and faithful rendition of the input image, we explore pictorial looks by controlling visual qualities such as the tonal balance and the amount of detail. Our method is based on a two-scale non-linear decomposition of an image. We modify the different layers based on their histograms and introduce a technique that controls the spatial variation of detail. We introduce a Poisson correction that prevents potential gradient reversal and preserves detail. In addition to directly controlling the parameters, the user can transfer the look of a model photograph to the picture being edited.

Figure 1: Undesirable artifacts in photography can be reduced by comparing image gradients at corresponding locations in a pair of flash and ambient images. (Left) Removing flash hot spot. Flash and ambient images of a museum scene, where the flash image reveals more of the scene but includes a strong highlight. We combine gradients in flash and ambient images to produce an enhanced flash image with the highlight removed. (Right) Removing self reflections. Flash and ambient images of a painting, where the ambient image includes annoying reflections of the photographer. The low-exposure flash image avoids reflections, but has a hot spot. We remove the reflections in the ambient image by removing the component of the ambient image gradients perpendicular to the flash image gradients. For visual verification, we show the computed reflection layer. Flash images are known to suffer from several problems: saturation of nearby objects, poor illumination of distant objects, reflections of objects strongly lit by the flash and strong highlights due to the reflection of flash itself by glossy surfaces. We propose to use a flash and no-flash (ambient) image pair to produce better flash images. We present a novel gradient projection scheme based on a gradient coherence model that allows removal of reflections and

This paper describes a mostly automatic method for taking the output of a single panning video camera and creating a panoramic video texture (PVT): a video that has been stitched into a single, wide field of view and that appears to play continuously and indefinitely. The key problem in creating a PVT is that although only a portion of the scene has been imaged at any given time, the output must simultaneously portray motion throughout the scene. Like previous work in video textures, our method employs min-cut optimization to select fragments of video that can be stitched together both spatially and temporally. However, it differs from earlier work in that the optimization must take place over a much larger set of data. Thus, to create PVTs, we introduce a dynamic programming step, followed by a novel hierarchical min-cut optimization algorithm. We also use gradient-domain compositing to further smooth boundaries between video fragments. We demonstrate our results with an interactive viewer in which users can interactively pan and zoom on high-resolution PVTs.