Humans comprehend a natural scene at a single glance; painters and other visual artists, through their abstract representations, stressed this capacity to the limit. The performance of computer vision solutions matched that of humans in many problems of visual recognition. In this paper we address the problem of recognizing the genre (subject) in digitized paintings using Convolutional Neural Networks (CNN) as part of the more general dealing with abstract and or artistic representation of scenes. Initially we establish the state of the art performance by training a CNN from scratch. In the next level of evaluation, we identify aspects that hinder the CNNs' recognition, such as artistic abstraction. Further, we test various domain adaptation methods that could enhance the subject recognition capabilities of the CNNs. The evaluation is performed on a database of 80,000 annotated digitized paintings, which is tentatively extended with artistic photographs, either original or stylized, in order to emulate artistic representations. Surprisingly, the most efficient domain adaptation is not the neural style transfer. Finally, the paper provides an experiment-based assessment of the abstraction level that CNNs are able to achieve.
Discriminative learning methods for classification perform well when training and test data are drawn from the same distribution. Often, however, we have plentiful labeled training data from a source domain but wish to learn a classifier which performs well on a target domain with a different distribution and little or no labeled training data. In this work we investigate two questions. First, under what conditions can a classifier trained from source data be expected to perform well on target data? Second, given a small amount of labeled target data, how should we combine it during training with the large amount of labeled source data to achieve the lowest target error at test time? We address the first question by bounding a classifier's target error in terms of its source error and the divergence between the two domains. We give a classifier-induced divergence measure that can be estimated from finite, unlabeled samples from the domains. Under the assumption that there exists some hypothesis that performs well in both domains, we show that this quantity together with the empirical source error characterize the target error of a source-trained classifier. We answer the second question by bounding the target error of a model which minimizes a convex combination of the empirical source and target errors. Previous theoretical work has considered minimizing just the source error, just the target error, or weighting instances from the two domains equally. We show how to choose the optimal combination of source and target error as a function of the divergence, the sample sizes of both domains, and the complexity of the hypothesis class. The resulting bound generalizes the previously studied cases and is always at least as tight as a bound which considers minimizing only the target error or an equal weighting of source and target errors. 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.