Aesthetic-Driven Image Enhancement by Adversarial Learning

We introduce EnhanceGAN, an adversarial learning based model that performs automatic image enhancement. Traditional image enhancement frameworks typically involve training models in a fully-supervised manner, which require expensive annotations in the form of aligned image pairs. In contrast to these approaches, our proposed EnhanceGAN only requires weak supervision (binary labels on image aesthetic quality) and is able to learn enhancement operators for the task of aesthetic-based image enhancement. In particular, we show the effectiveness of a piecewise color enhancement module trained with weak supervision, and extend the proposed EnhanceGAN framework to learning a deep filtering-based aesthetic enhancer. The full differentiability of our image enhancement operators enables the training of EnhanceGAN in an end-to-end manner. We further demonstrate the capability of EnhanceGAN in learning aesthetic-based image cropping without any groundtruth cropping pairs. Our weakly-supervised EnhanceGAN reports competitive quantitative results on aesthetic-based color enhancement as well as automatic image cropping, and a user study confirms that our image enhancement results are on par with or even preferred over professional enhancement

DSLR-Quality Photos on Mobile Devices with Deep Convolutional Networks

Despite a rapid rise in the quality of built-in smartphone cameras, their physical limitations - small sensor size, compact lenses and the lack of specific hardware, - impede them to achieve the quality results of DSLR cameras. In this work we present an end-to-end deep learning approach that bridges this gap by translating ordinary photos into DSLR-quality images. We propose learning the translation function using a residual convolutional neural network that improves both color rendition and image sharpness. Since the standard mean squared loss is not well suited for measuring perceptual image quality, we introduce a composite perceptual error function that combines content, color and texture losses. The first two losses are defined analytically, while the texture loss is learned in an adversarial fashion. We also present DPED, a large-scale dataset that consists of real photos captured from three different phones and one high-end reflex camera. Our quantitative and qualitative assessments reveal that the enhanced image quality is comparable to that of DSLR-taken photos, while the methodology is generalized to any type of digital camera

Deep Bilateral Learning for Real-Time Image Enhancement

Performance is a critical challenge in mobile image processing. Given a reference imaging pipeline, or even human-adjusted pairs of images, we seek to reproduce the enhancements and enable real-time evaluation. For this, we introduce a new neural network architecture inspired by bilateral grid processing and local affine color transforms. Using pairs of input/output images, we train a convolutional neural network to predict the coefficients of a locally-affine model in bilateral space. Our architecture learns to make local, global, and content-dependent decisions to approximate the desired image transformation. At runtime, the neural network consumes a low-resolution version of the input image, produces a set of affine transformations in bilateral space, upsamples those transformations in an edge-preserving fashion using a new slicing node, and then applies those upsampled transformations to the full-resolution image. Our algorithm processes high-resolution images on a smartphone in milliseconds, provides a real-time viewfinder at 1080p resolution, and matches the quality of state-of-the-art approximation techniques on a large class of image operators. Unlike previous work, our model is trained off-line from data and therefore does not require access to the original operator at runtime. This allows our model to learn complex, scene-dependent transformations for which no reference implementation is available, such as the photographic edits of a human retoucher.Comment: 12 pages, 14 figures, Siggraph 201