Daniela Ivanova

Automated plankton imaging produces severely long-tailed datasets, where the rare taxa of greatest ecological interest have too few images to train or evaluate classifiers reliably. We generate synthetic plankton imagery conditioned on taxonomy: a CLIP encoder is adapted on a large plankton corpus with a ranked contrastive objective extended to deep, ragged taxonomies, then frozen to condition a parameter-efficient diffusion transformer. We evaluate synthetic sample quality on distributional fidelity and downstream classifier utility.

SceneHI is a framework that lifts high-resolution, illumination-aware priors from 2D diffusion models to perform 3D texture synthesis. It is the first to demonstrate that high-resolution textures, previously limited to 2D synthesis, can be generated directly on 3D objects without model fine-tuning or optimization. Designed for complex, multi-object environments, SceneHI uniquely combines 3D-consistency, high-resolution fidelity, and physically plausible baked shadows within a single generative pipeline. To enforce strict geometric coherence, we introduce an exact analytical pixel-to-texel mapping that aligns diffusion trajectories across multiple viewpoints. We utilize High-Resolution Latent Textures (HRLTs) as a persistent canvas for gradually denoised textures, while camera views perform the denoising steps in latent pixel space. This ensures a shared base texture that can be subsequently refined to high resolution without compromising multi-view consistency. Finally, a light-aware generative pass embeds realistic geometry-consistent shadows directly into the atlases, bridging the gap to production workflows. SceneHI achieves high visual fidelity while reducing generation time by 80% compared to existing scene-level methods.

We propose an unsupervised image segmentation method using features from pre-trained text-to-image diffusion models. Inspired by classic spectral clustering approaches, we construct adjacency matrices from self-attention layers between image patches and recursively partition using Normalised Cuts. A key insight is that self-attention probability distributions, which capture semantic relations between patches, can be interpreted as a Markov random walk across the image. We leverage this by first using Random Walk Normalized Cuts directly on these self-attention activations to partition the image, minimizing transition probabilities across clusters while maximizing coherence within clusters. Applied recursively, this yields a hierarchical segmentation that reflects the rich semantics in the pre-trained attention layers, without any additional training. Next, we explore other ways to build the NCuts adjacency matrix from features, and how we can use the random walk interpretation of self-attention to capture long-range relationships. Finally, we propose an approach to automatically determine the NCut cost criterion, avoiding the need to tune this manually. We evaluate our method on a range of standard segmentation benchmarks, showing significant improvements over prior unsupervised approaches.

Accurately detecting and classifying damage in analogue media such as paintings, photographs, textiles, mosaics, and frescoes is essential for cultural heritage preservation. While machine learning models excel in correcting global degradation if the damage operator is known a priori, we show that they fail to robustly predict where the damage is even after supervised training; thus, reliable damage detection remains a challenge. We introduce ARTeFACT, a dataset for damage detection in diverse types of analogue media, with over 11,000 annotations covering 15 kinds of damage across various subjects, media, and historical provenance. Furthermore, we contribute human-verified text prompts describing the semantic contents of the images, and derive additional textual descriptions of the annotated damage. We evaluate CNN, Transformer, diffusion-based segmentation models, and foundation vision models in zero-shot, supervised, unsupervised and text-guided settings, revealing their limitations in generalising across media types.

Analogue film restoration, both for still photographs and motion picture emulsions, is a slow and laborious manual process. Artifacts such as dust and scratches are random in shape, size, and location; additionally, the ovserall degree of damage varies between different frames. We address this less popular case of image restoration by training a U-Net model with a modified perceptual loss function. Along with the novel perceptual loss function used for training, we propose a more rigorous quantitative model evaluation approach which measures the overall degree of improvement in perceptual quality over our test set.

Digital scans of analogue photographic film typically contain artefacts such as dust and scratches. Automated removal of these is an important part of preservation and dissemination of photographs of historical and cultural importance. While state-of-the-art deep learning models have shown impressive results in general image inpainting and denoising, film artefact removal is an understudied problem. It has particularly challenging requirements, due to the complex nature of analogue damage, the high resolution of film scans, and potential ambiguities in the restoration. There are no publicly available high-quality datasets of real-world analogue film damage for training and evaluation, making quantitative studies impossible. We address the lack of ground-truth data for evaluation by collecting a dataset of 4K damaged analogue film scans paired with manually-restored versions produced by a human expert, allowing quantitative evaluation of restoration performance. We construct a larger synthetic dataset of damaged images with paired clean versions using a statistical model of artefact shape and occurrence learnt from real, heavily-damaged images. We carefully validate the realism of the simulated damage via a human perceptual study, showing that even expert users find our synthetic damage indistinguishable from real. In addition, we demonstrate that training with our synthetically damaged dataset leads to improved artefact segmentation performance when compared to previously proposed synthetic analogue damage. Finally, we use these datasets to train and analyse the performance of eight state-of-the-art image restoration methods on high-resolution scans. We compare both methods which directly perform the restoration task on scans with artefacts, and methods which require a damage mask to be provided for the inpainting of artefacts.

We present DiffInfinite, a hierarchical diffusion model that generates arbitrarily large histological images while preserving long-range correlation structural information. Our approach first generates synthetic segmentation masks, subsequently used as conditions for the high-fidelity generative diffusion process. The proposed sampling method can be scaled up to any desired image size while only requiring small patches for fast training. Moreover, it can be parallelized more efficiently than previous large-content generation methods while avoiding tiling artefacts. The training leverages classifier-free guidance to augment a small, sparsely annotated dataset with unlabelled data. Our method alleviates unique challenges in histopathological imaging practice: large-scale information, costly manual annotation, and protective data handling. The biological plausibility of DiffInfinite data is validated in a survey by ten experienced pathologists as well as a downstream segmentation task. Furthermore, the model scores strongly on anti-copying metrics which is beneficial for the protection of patient data.