Taking photographs in low light using a mobile phone is challenging and rarely produces pleasing results. Aside from the physical limits imposed by read noise and photon shot noise, these cameras are typically handheld, have small apertures and sensors, use mass-produced analog electronics that cannot easily be cooled, and are commonly used to photograph subjects that move, like children and pets. In this paper we describe a system for capturing clean, sharp, colorful photographs in light as low as 0.3 lux, where human vision becomes monochromatic and indistinct. To permit handheld photography without flash illumination, we capture, align, and combine multiple frames. Our system employs "motion metering", which uses an estimate of motion magnitudes (whether due to handshake or moving objects) to identify the number of frames and the per-frame exposure times that together minimize both noise and motion blur in a captured burst. We combine these frames using robust alignment and merging techniques that are specialized for high-noise imagery. To ensure accurate colors in such low light, we employ a learning-based auto white balancing algorithm. To prevent the photographs from looking like they were shot in daylight, we use tone mapping techniques inspired by illusionistic painting: increasing contrast, crushing shadows to black, and surrounding the scene with darkness. All of these processes are performed using the limited computational resources of a mobile device. Our system can be used by novice photographers to produce shareable pictures in a few seconds based on a single shutter press, even in environments so dim that humans cannot see clearly.

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.

We present an algorithm to accelerate a large class of image processing operators. Given a low-resolution reference input and output pair, we model the operator by fitting local curves that map the input to the output. We can then produce a full-resolution output by evaluating these low-resolution curves on the full-resolution input. We demonstrate that this faithfully models state-of-the-art operators for tone mapping, style transfer, and recoloring. The curves are computed by lifting the input into a bilateral grid and then solving for the 3D array of affine matrices that best maps input color to output color per x, y , intensity bin. We enforce a smoothness term on the matrices which prevents false edges and noise amplification. We can either globally optimize this energy, or quickly approximate a solution by locally fitting matrices and then enforcing smoothness by blurring in grid space. This latter option reduces to joint bilateral upsampling [Kopf et al. 2007] or the guided filter [He et al. 2013], depending on the choice of parameters. The cost of running the algorithm is reduced to the cost of running the original algorithm at greatly reduced resolution, as fitting the curves takes about 10 ms on mobile devices, and 1--2 ms on desktop CPUs, and evaluating the curves can be done with a simple GPU shader.

Cell phone cameras have small apertures, which limits the number of photons they can gather, leading to noisy images in low light. They also have small sensor pixels, which limits the number of electrons each pixel can store, leading to limited dynamic range. We describe a computational photography pipeline that captures, aligns, and merges a burst of frames to reduce noise and increase dynamic range. Our system has several key features that help make it robust and efficient. First, we do not use bracketed exposures. Instead, we capture frames of constant exposure, which makes alignment more robust, and we set this exposure low enough to avoid blowing out highlights. The resulting merged image has clean shadows and high bit depth, allowing us to apply standard HDR tone mapping methods. Second, we begin from Bayer raw frames rather than the demosaicked RGB (or YUV) frames produced by hardware Image Signal Processors (ISPs) common on mobile platforms. This gives us more bits per pixel and allows us to circumvent the ISP's unwanted tone mapping and spatial denoising. Third, we use a novel FFT-based alignment algorithm and a hybrid 2D/3D Wiener filter to denoise and merge the frames in a burst. Our implementation is built atop Android's Camera2 API, which provides per-frame camera control and access to raw imagery, and is written in the Halide domain-specific language (DSL). It runs in 4 seconds on device (for a 12 Mpix image), requires no user intervention, and ships on several mass-produced cell phones.

Multiscale manipulations are central to image editing but also prone to halos. Achieving artifact-free results requires sophisticated edge-aware techniques and careful parameter tuning. These shortcomings were recently addressed by the local Laplacian filters, which can achieve a broad range of effects using standard Laplacian pyramids. However, these filters are slow to evaluate and their relationship to other approaches is unclear. In this article, we show that they are closely related to anisotropic diffusion and to bilateral filtering. Our study also leads to a variant of the bilateral filter that produces cleaner edges while retaining its speed. Building upon this result, we describe an acceleration scheme for local Laplacian filters on gray-scale images that yields speedups on the order of 50×. Finally, we demonstrate how to use local Laplacian filters to alter the distribution of gradients in an image. We illustrate this property with a robust algorithm for photographic style transfer.

It is often desirable to detect whether a surface has been touched, even when the changes made to that surface are too subtle to see in a pair of before and after images. To address this challenge, we introduce a new imaging technique that combines computational photography and laser speckle imaging. Without requiring controlled laboratory conditions, our method is able to detect surface changes that would be indistinguishable in regular photographs. It is also mobile and does not need to be present at the time of contact with the surface, making it well suited for applications where the surface of interest cannot be constantly monitored. Our approach takes advantage of the fact that tiny surface deformations cause phase changes in reflected coherent light which alter the speckle pattern visible under laser illumination. We take before and after images of the surface under laser light and can detect subtle contact by correlating the speckle patterns in these images. A key challenge we address is that speckle imaging is very sensitive to the location of the camera, so removing and reintroducing the camera requires high-accuracy viewpoint alignment. To this end, we use a combination of computational rephotography and correlation analysis of the speckle pattern as a function of camera translation. Our technique provides a reliable way of detecting subtle surface contact at a level that was previously only possible under laboratory conditions. With our system, the detection of these subtle surface changes can now be brought into the wild.

Diffuse objects generally tell us little about the surrounding lighting, since the radiance they reflect blurs together incident lighting from many directions. In this paper we discuss how occlusion geometry can help invert diffuse reflectance to recover lighting or surface albedo. Self-occlusion in the scene can be regarded as a form of coding, creating high frequencies that improve the conditioning of diffuse light transport. Our analysis builds on a basic observation that diffuse reflectors with sufficiently detailed geometry can fully resolve the incident lighting. Using a Bayesian framework, we propose a novel reconstruction method based on high-resolution photography, taking advantage of visibility changes near occlusion boundaries. We also explore the limits of single-pixel observations as the diffuse reflector (and potentially the lighting) vary over time. Diffuse reflectance imaging is particularly relevant for astronomy applications, where diffuse reflectors arise naturally but the incident lighting and camera position cannot be controlled. To test our approaches, we first study the feasibility of using the moon as a diffuse reflector to observe the earth as seen from space. Next we present a reconstruction of Mars using historical photometry measurements not previously used for this purpose. As our results suggest, diffuse reflectance imaging expands our notion of what can qualify as a camera.

In this paper, we consider the problem of imaging a scene with a given depth of field at a given exposure level in the shortest amount of time possible. We show that by 1) collecting a sequence of photos and 2) controlling the aperture, focus, and exposure time of each photo individually, we can span the given depth of field in less total time than it takes to expose a single narrower-aperture photo. Using this as a starting point, we obtain two key results. First, for lenses with continuously variable apertures, we derive a closed-form solution for the globally optimal capture sequence, i.e., that collects light from the specified depth of field in the most efficient way possible. Second, for lenses with discrete apertures, we derive an integer programming problem whose solution is the optimal sequence. Our results are applicable to off-the-shelf cameras and typical photography conditions, and advocate the use of dense, wide-aperture photo sequences as a light-efficient alternative to single-shot, narrow-aperture photography.

The Laplacian pyramid is ubiquitous for decomposing images into multiple scales and is widely used for image analysis. However, because it is constructed with spatially invariant Gaussian kernels, the Laplacian pyramid is widely believed as being unable to represent edges well and as being ill-suited for edge-aware operations such as edge-preserving smoothing and tone mapping. To tackle these tasks, a wealth of alternative techniques and representations have been proposed, e.g., anisotropic diffusion, neighborhood filtering, and specialized wavelet bases. While these methods have demonstrated successful results, they come at the price of additional complexity, often accompanied by higher computational cost or the need to post-process the generated results. In this paper, we show state-of-the-art edge-aware processing using standard Laplacian pyramids. We characterize edges with a simple threshold on pixel values that allows us to differentiate large-scale edges from small-scale details. Building upon this result, we propose a set of image filters to achieve edge-preserving smoothing, detail enhancement, tone mapping, and inverse tone mapping. The advantage of our approach is its simplicity and flexibility, relying only on simple point-wise nonlinearities and small Gaussian convolutions; no optimization or post-processing is required. As we demonstrate, our method produces consistently high-quality results, without degrading edges or introducing halos.

Taking multiple exposures is a well-established approach both for capturing high dynamic range (HDR) scenes and for noise reduction. But what is the optimal set of photos to capture? The typical approach to HDR capture uses a set of photos with geometrically-spaced exposure times, at a fixed ISO setting (typically ISO 100 or 200). By contrast, we show that the capture sequence with optimal worst-case performance, in general, uses much higher and variable ISO settings, and spends longer capturing the dark parts of the scene. Based on a detailed model of noise, we show that optimal capture can be formulated as a mixed integer programming problem. Compared to typical HDR capture, our method lets us achieve higher worst-case SNR in the same capture time (for some cameras, up to 19 dB improvement in the darkest regions), or much faster capture for the same minimum acceptable level of SNR. Our experiments demonstrate this advantage for both real and synthetic scenes.

Capturing multiple photos at different focus settings is a powerful approach for reducing optical blur, but how many photos should we capture within a fixed time budget? We develop a framework to analyze optimal capture strategies balancing the tradeoff between defocus and sensor noise, incorporating uncertainty in resolving scene depth. We derive analytic formulas for restoration error and use Monte Carlo integration over depth to derive optimal capture strategies for different camera designs, under a wide range of photographic scenarios. We also derive a new upper bound on how well spatial frequencies can be preserved over the depth of field. Our results show that by capturing the optimal number of photos, a standard camera can achieve performance at the level of more complex computational cameras, in all but the most demanding of cases. We also show that computational cameras, although specifically designed to improve one-shot performance, generally benefit from capturing multiple photos as well.

Depth of field (DOF), the range of scene depths that appear sharp in a photograph, poses a fundamental tradeoff in photography---wide apertures are important to reduce imaging noise, but they also increase defocus blur. Recent advances in computational imaging modify the acquisition process to extend the DOF through deconvolution. Because deconvolution quality is a tight function of the frequency power spectrum of the defocus kernel, designs with high spectra are desirable. In this paper we study how to design effective extended-DOF systems, and show an upper bound on the maximal power spectrum that can be achieved. We analyze defocus kernels in the 4D light field space and show that in the frequency domain, only a low-dimensional 3D manifold contributes to focus. Thus, to maximize the defocus spectrum, imaging systems should concentrate their limited energy on this manifold. We review several computational imaging systems and show either that they spend energy outside the focal manifold or do not achieve a high spectrum over the DOF. Guided by this analysis we introduce the lattice-focal lens, which concentrates energy at the low-dimensional focal manifold and achieves a higher power spectrum than previous designs. We have built a prototype lattice-focal lens and present extended depth of field results.

We present variable-aperture photography, a new method for analyzing sets of images captured with different aperture settings, with all other camera parameters fixed. We show that by casting the problem in an image restoration framework, we can simultaneously account for defocus, high dynamic range exposure (HDR), and noise, all of which are confounded according to aperture. Our formulation is based on a layered decomposition of the scene that models occlusion effects in detail. Recovering such a scene representation allows us to adjust the camera parameters in post-capture, to achieve changes in focus setting or depth-of-field—with all results available in HDR. Our method is designed to work with very few input images: we demonstrate results from real sequences obtained using the three-image "aperture bracketing" mode found on consumer digital SLR cameras.

This paper considers the problem of reconstructing visually realistic 3D models of dynamic semitransparent scenes, such as fire, from a very small set of simultaneous views (even two). We show that this problem is equivalent to a severely underconstrained computerized tomography problem, for which traditional methods break down. Our approach is based on the observation that every pair of photographs of a semitransparent scene defines a unique density field, called a Density Sheet, that 1) concentrates all its density on one connected, semitransparent surface, 2) reproduces the two photos exactly, and 3) is the most spatially compact density field that does so. From this observation, we reduce reconstruction to the convex combination of sheet-like density fields, each of which is derived from the Density Sheet of two input views. We have applied this method specifically to the problem of reconstructing 3D models of fire. Experimental results suggest that this method enables high-quality view synthesis without overfitting artifacts.

This paper considers the problem of reconstructing visually realistic 3D models of fire from a very small set of simultaneous views (even two). By modeling fire as a semitransparent 3D density field, we show that fire reconstruction is equivalent to a severely under-constrained computerized tomography problem, for which traditional methods break down. Our approach is based on the observation that every pair of photographs of a semitransparent scene defines a unique density field, called a Flame Sheet, that (1) concentrates all its density on one connected, semitransparent surface, (2) reproduces the two photos exactly, and (3) is the most spatially-coherent density field that does so. From this observation, we reduce fire reconstruction to the convex combination of sheet-like density fields, each of which is derived from the Flame Sheet of two input photos. Experimental results suggest that this method enables high-quality view extrapolation without over-fitting artifacts.