Accurately describing images with text is a foundation of explainable AI. Vision-Language Models (VLMs) like CLIP have recently addressed this by aligning images and texts in a shared embedding space, expressing semantic similarities between vision and language embeddings. VLM classification can be improved with descriptions generated by Large Language Models (LLMs). However, it is difficult to determine the contribution of actual description semantics, as the performance gain may also stem from a semantic-agnostic ensembling effect, where multiple modified text prompts act as a noisy test-time augmentation for the original one. We propose an alternative evaluation scenario to decide if a performance boost of LLM-generated descriptions is caused by such a noise augmentation effect or rather by genuine description semantics. The proposed scenario avoids noisy test-time augmentation and ensures that genuine, distinctive descriptions cause the performance boost. Furthermore, we propose a training-free method for selecting discriminative descriptions that work independently of classname-ensembling effects. Our approach identifies descriptions that effectively differentiate classes within a local CLIP label neighborhood, improving classification accuracy across seven datasets. Additionally, we provide insights into the explainability of description-based image classification using VLMs.

Current discriminative depth estimation methods often produce blurry artifacts, while generative approaches suffer from slow sampling due to curvatures in the noise-to-depth transport. Our method addresses these challenges by framing depth estimation as a direct transport between image and depth distributions. We are the first to explore flow matching in this field, and we demonstrate that its interpolation trajectories enhance both training and sampling efficiency while preserving high performance. While generative models typically require extensive training data, we mitigate this dependency by integrating external knowledge from a pre-trained image diffusion model, enabling effective transfer even across differing objectives. To further boost our model performance, we employ synthetic data and utilize image-depth pairs generated by a discriminative model on an in-the-wild image dataset. As a generative model, our model can reliably estimate depth confidence, which provides an additional advantage. Our approach achieves competitive zero-shot performance on standard benchmarks of complex natural scenes while improving sampling efficiency and only requiring minimal synthetic data for training.

Learning compact image embeddings that yield seman-tic similarities between images and that generalize to un-seen test classes, is at the core of deep metric learning (DML). Finding a mapping from a rich, localized image feature map onto a compact embedding vector is challenging: Although similarity emerges between tuples of images, DML approaches marginalize out information in an individ-ual image before considering another image to which simi-larity is to be computed. Instead, we propose during training to condition the em-bedding of an image on the image we want to compare it to. Rather than embedding by a simple pooling as in standard DML, we use cross-attention so that one image can iden-tify relevant features in the other image. Consequently, the attention mechanism establishes a hierarchy of conditional embeddings that gradually incorporates information about the tuple to steer the representation of an individual image. The cross-attention layers bridge the gap between the origi-nal unconditional embedding and the final similarity and al-low backpropagtion to update encodings more directly than through a lossy pooling layer. At test time we use the re-sulting improved unconditional embeddings, thus requiring no additional parameters or computational overhead. Ex-periments on established DML benchmarks show that our cross-attention conditional embedding during training im-proves the underlying standard DML pipeline significantly so that it outperforms the state-of-the-art.

There have been many successful implementations of neural style transfer in recent years. In most of these works, the stylization process is confined to the pixel domain. However, we argue that this representation is unnatural because paintings usually consist of brushstrokes rather than pixels. We propose a method to stylize images by optimizing parameterized brushstrokes instead of pixels and further introduce a simple differentiable rendering mechanism.Our approach significantly improves visual quality and enables additional control over the stylization process such as controlling the flow of brushstrokes through user input.We provide qualitative and quantitative evaluations that show the efficacy of the proposed parameterized representation. Code is available at https://github.com/CompVis/brushstroke-parameterized-style-transfer.

Style transfer has recently received a lot of attention, since it allows to study fundamental challenges in image understanding and synthesis. Recent work has significantly improved the representation of color and texture and computational speed and image resolution. The explicit transformation of image content has, however, been mostly neglected: while artistic style affects formal characteristics of an image, such as color, shape or texture, it also deforms, adds or removes content details. This paper explicitly focuses on a content-and style-aware stylization of a content image. Therefore, we introduce a content transformation module between the encoder and decoder. Moreover, we utilize similar content appearing in photographs and style samples to learn how style alters content details and we generalize this to other class details. Additionally, this work presents a novel normalization layer critical for high resolution image synthesis. The robustness and speed of our model enables a video stylization in real-time and high definition. We perform extensive qualitative and quantitative evaluations to demonstrate the validity of our approach.

Artists rarely paint in a single style throughout their career. More often they change styles or develop variations of it. In addition, artworks in different styles and even within one style depict real content differently: while Picasso's Blue Period displays a vase in a blueish tone but as a whole, his Cubist works deconstruct the object. To produce artistically convincing stylizations, style transfer models must be able to reflect these changes and variations. Recently many works have aimed to improve the style transfer task, but neglected to address the described observations. We present a novel approach which captures particularities of style and the variations within and separates style and content. This is achieved by introducing two novel losses: a fixpoint triplet style loss to learn subtle variations within one style or between different styles and a disentanglement loss to ensure that the stylization is not conditioned on the real input photo. In addition the paper proposes various evaluation methods to measure the importance of both losses on the validity, quality and variability of final stylizations. We provide qualitative results to demonstrate the performance of our approach.