This paper introduces a tuning-free method for both object insertion and subject-driven generation. The task involves composing an object, given multiple views, into a scene specified by either an image or text. Existing methods struggle to fully meet the task's challenging objectives: (i) seamlessly composing the object into the scene with photorealistic pose and lighting, and (ii) preserving the object's identity. We hypothesize that achieving these goals requires large scale supervision, but manually collecting sufficient data is simply too expensive. The key observation in this paper is that many mass-produced objects recur across multiple images of large unlabeled datasets, in different scenes, poses, and lighting conditions. We use this observation to create massive supervision by retrieving sets of diverse views of the same object. This powerful paired dataset enables us to train a straightforward text-to-image diffusion architecture to map the object and scene descriptions to the composited image. We compare our method, ObjectMate, with state-of-the-art methods for object insertion and subject-driven generation, using a single or multiple references. Empirically, ObjectMate achieves superior identity preservation and more photorealistic composition. Differently from many other multi-reference methods, ObjectMate does not require slow test-time tuning.

Underwater images suffer from color distortion and low contrast, because light is attenuated while it propagates through water. Attenuation under water varies with wavelength, unlike terrestrial images where attenuation is assumed to be spectrally uniform. The attenuation depends both on the water body and the 3D structure of the scene, making color restoration difficult. Unlike existing single underwater image enhancement techniques, our method takes into account multiple spectral profiles of different water types. By estimating just two additional global parameters: the attenuation ratios of the blue-red and blue-green color channels, the problem is reduced to single image dehazing, where all color channels have the same attenuation coefficients. Since the water type is unknown, we evaluate different parameters out of an existing library of water types. Each type leads to a different restored image and the best result is automatically chosen based on color distribution. We also contribute a dataset of 57 images taken in different locations. To obtain ground truth, we placed multiple color charts in the scenes and calculated its 3D structure using stereo imaging. This dataset enables a rigorous quantitative evaluation of restoration algorithms on natural images for the first time.

Haze often limits visibility and reduces contrast in outdoor images. The degradation varies spatially since it depends on the objects' distances from the camera. This dependency is expressed in the transmission coefficients, which control the attenuation. Restoring the scene radiance from a single image is a highly ill-posed problem, and thus requires using an image prior. Contrary to methods that use patch-based image priors, we propose an algorithm based on a non-local prior. The algorithm relies on the assumption that colors of a haze-free image are well approximated by a few hundred distinct colors, which form tight clusters in RGB space. Our key observation is that pixels in a given cluster are often non-local, i.e., spread over the entire image plane and located at different distances from the camera. In the presence of haze these varying distances translate to different transmission coefficients. Therefore, each color cluster in the clear image becomes a line in RGB space, that we term a haze-line. Using these haze-lines, our algorithm recovers the atmospheric light, the distance map and the haze-free image. The algorithm has linear complexity, requires no training, and performs well on a wide variety of images compared to other state-of-the-art methods.

Outdoor images taken in bad weather conditions, such as haze and fog, look faded and have reduced contrast. Recently there has been great success in single image dehazing, i.e., improving the visibility and restoring the colors from a single image. A crucial step in these methods is the calculation of the air-light color, the color of an area of the image with no objects in line-of-sight. We propose a new method for calculating the air-light. The method relies on the haze-lines prior that was recently introduced. This prior is based on the observation that the pixel values of a hazy image can be modeled as lines in RGB space that intersect at the air-light. We use Hough transform in RGB space to vote for the location of the air-light. We evaluate the proposed method on an existing dataset of real world images, as well as some synthetic and other real images. Our method performs on-par with current state-of-the-art techniques and is more computationally efficient.

Haze limits visibility and reduces image contrast in outdoor images. The degradation is different for every pixel and depends on the distance of the scene point from the camera. This dependency is expressed in the transmission coefficients, that control the scene attenuation and amount of haze in every pixel. Previous methods solve the single image dehazing problem using various patch-based priors. We, on the other hand, propose an algorithm based on a new, non-local prior. The algorithm relies on the assumption that colors of a haze-free image are well approximated by a few hundred distinct colors, that form tight clusters in RGB space. Our key observation is that pixels in a given cluster are often non-local, i.e., they are spread over the entire image plane and are located at different distances from the camera. In the presence of haze these varying distances translate to different transmission coefficients. Therefore, each color cluster in the clear image becomes a line in RGB space, that we term a haze-line. Using these haze-lines, our algorithm recovers both the distance map and the haze-free image. The algorithm is linear in the size of the image, deterministic and requires no training. It performs well on a wide variety of images and is competitive with other stateof-the-art methods.