The Photographer's Eye: Teaching Multimodal Large Language Models to See, and Critique Like Photographers

Daiqing Qi, Handong Zhao, Jing Shi, Simon Jenni, Yifei Fan, Franck Dernoncourt, Scott Cohen, Sheng Li; Proceedings of the Computer Vision and Pattern Recognition Conference (CVPR), 2025, pp. 24807-24816

Photographer, curator, and former director of photography at the Museum of Modern Art (MoMA), John Szarkowski remarked in *William Eggleston's Guide*, "While editing directly from life, photographers have found it too difficult to see simultaneously both the blue and the sky." Szarkowski insightfully revealed a notable gap between general and aesthetic visual understanding: while the former emphasizes identifying factual elements in an image (the sky), the latter transcends mere object identification, viewing it instead as an aesthetic component--a pure expanse of blue, valued purely as a color block in visual aesthetics. Such distinctions between general visual understanding (detection, localization, etc.) and aesthetic perception (color, lighting, composition, etc.) pose a significant challenge for existing Multimodal Large Language Models (MLLMs) in comprehending image aesthetics, which is increasingly needed in real-world applications, from image recommendation and enhancement to generation. To fundamentally advance the aesthetic understanding of MLLMs, we introduce a novel dataset, PhotoCritique, derived from extensive discussions among professional photographers and enthusiasts, distinguished by its large scale, expertise, and diversity. Additionally, we propose a new model, PhotoEye, an MLLM featuring a language-guided multi-view vision fusion mechanism for understanding image aesthetics from multiple perspectives. Finally, we introduce PhotoBench, a comprehensive and professional benchmark for aesthetic visual understanding. Our model demonstrates significant advantages over both open-source and commercial models on existing benchmarks and PhotoBench.