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Image Processing Toolbox™
User's Guide

R2020a
How to Contact MathWorks

Latest news: www.mathworks.com

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Phone: 508-647-7000

The MathWorks, Inc.

1 Apple Hill Drive
Natick, MA 01760-2098
Image Processing Toolbox™User's Guide
© COPYRIGHT 1993–2020 by The MathWorks, Inc.
The software described in this document is furnished under a license agreement. The software may be used or copied
only under the terms of the license agreement. No part of this manual may be photocopied or reproduced in any form
without prior written consent from The MathWorks, Inc.
FEDERAL ACQUISITION: This provision applies to all acquisitions of the Program and Documentation by, for, or through
the federal government of the United States. By accepting delivery of the Program or Documentation, the government
hereby agrees that this software or documentation qualifies as commercial computer software or commercial computer
software documentation as such terms are used or defined in FAR 12.212, DFARS Part 227.72, and DFARS 252.227-7014.
Accordingly, the terms and conditions of this Agreement and only those rights specified in this Agreement, shall pertain
to and govern the use, modification, reproduction, release, performance, display, and disclosure of the Program and
Documentation by the federal government (or other entity acquiring for or through the federal government) and shall
supersede any conflicting contractual terms or conditions. If this License fails to meet the government's needs or is
inconsistent in any respect with federal procurement law, the government agrees to return the Program and
Documentation, unused, to The MathWorks, Inc.
Trademarks
MATLAB and Simulink are registered trademarks of The MathWorks, Inc. See
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Revision History
August 1993 First printing Version 1
May 1997 Second printing Version 2
April 2001 Third printing Revised for Version 3.0
June 2001 Online only Revised for Version 3.1 (Release 12.1)
July 2002 Online only Revised for Version 3.2 (Release 13)
May 2003 Fourth printing Revised for Version 4.0 (Release 13.0.1)
September 2003 Online only Revised for Version 4.1 (Release 13.SP1)
June 2004 Online only Revised for Version 4.2 (Release 14)
August 2004 Online only Revised for Version 5.0 (Release 14+)
October 2004 Fifth printing Revised for Version 5.0.1 (Release 14SP1)
March 2005 Online only Revised for Version 5.0.2 (Release 14SP2)
September 2005 Online only Revised for Version 5.1 (Release 14SP3)
March 2006 Online only Revised for Version 5.2 (Release 2006a)
September 2006 Online only Revised for Version 5.3 (Release 2006b)
March 2007 Online only Revised for Version 5.4 (Release 2007a)
September 2007 Online only Revised for Version 6.0 (Release 2007b)
March 2008 Online only Revised for Version 6.1 (Release 2008a)
October 2008 Online only Revised for Version 6.2 (Release 2008b)
March 2009 Online only Revised for Version 6.3 (Release 2009a)
September 2009 Online only Revised for Version 6.4 (Release 2009b)
March 2010 Online only Revised for Version 7.0 (Release 2010a)
September 2010 Online only Revised for Version 7.1 (Release 2010b)
April 2011 Online only Revised for Version 7.2 (Release 2011a)
September 2011 Online only Revised for Version 7.3 (Release 2011b)
March 2012 Online only Revised for Version 8.0 (Release 2012a)
September 2012 Online only Revised for Version 8.1 (Release 2012b)
March 2013 Online only Revised for Version 8.2 (Release 2013a)
September 2013 Online only Revised for Version 8.3 (Release 2013b)
March 2014 Online only Revised for Version 9.0 (Release 2014a)
October 2014 Online only Revised for Version 9.1 (Release 2014b)
March 2015 Online only Revised for Version 9.2 (Release 2015a)
September 2015 Online only Revised for Version 9.3 (Release 2015b)
March 2016 Online only Revised for Version 9.4 (Release 2016a)
September 2016 Online only Revised for Version 9.5 (Release 2016b)
March 2017 Online only Revised for Version 10.0 (Release 2017a)
September 2017 Online only Revised for Version 10.1 (Release 2017b)
March 2018 Online only Revised for Version 10.2 (Release 2018a)
September 2018 Online only Revised for Version 10.3 (Release 2018b)
March 2019 Online only Revised for Version 10.4 (Release 2019a)
September 2019 Online only Revised for Version 11.0 (Release 2019b)
March 2020 Online only Revised for Version 11.1 (Release 2020a)
 Contents

Getting Started
1
Image Processing Toolbox Product Description . . . . . . . . . . . . . . . . . . . . . 1-2
Key Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-2

Configuration Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-3

Compilability . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-4

Basic Image Import, Processing, and Export . . . . . . . . . . . . . . . . . . . . . . . 1-5

Correct Nonuniform Illumination and Analyze Foreground Objects . . . . 1-10

Getting Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-18

Product Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-18
Image Processing Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-18
MATLAB Newsgroup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-18

Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-19

Introduction
2
Images in MATLAB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2

Image Coordinate Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-3

Pixel Indices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-3
Spatial Coordinates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-4

Define World Coordinates Using XData and YData Properties . . . . . . . . . 2-6

Display an Image using Nondefault Spatial Coordinates . . . . . . . . . . . . . . 2-6

Define World Coordinates Using Spatial Referencing . . . . . . . . . . . . . . . . 2-9

Image Types in the Toolbox . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-11

Binary Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-12
Indexed Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-12
Grayscale Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-13
Truecolor Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-14
HDR Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-14
Multispectral and Hyperspectral Images . . . . . . . . . . . . . . . . . . . . . . . . . 2-15
Label Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-16

v
 Display Separated Color Channels of RGB Image . . . . . . . . . . . . . . . . . . . 2-17

Convert Between Image Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-20

Convert Image Data Between Classes . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-21

Overview of Image Class Conversions . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-21
Losing Information in Conversions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-21
Converting Indexed Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-21

Perform an Operation on a Sequence of Images . . . . . . . . . . . . . . . . . . . 2-22

Detecting Cars in a Video of Traffic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-24

Process Folder of Images Using Image Batch Processor App . . . . . . . . . 2-30

Process Large Set of Images Using MapReduce Framework and Hadoop

......................................................... 2-38

Work with Image Sequences as Multidimensional Arrays . . . . . . . . . . . . 2-48

Create Multidimensional Array Representing Image Sequence . . . . . . . . 2-48
Display Image Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-48
Process Image Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-49

Image Arithmetic Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-51

Image Arithmetic Clipping Rules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-52

Nest Calls to Image Arithmetic Functions . . . . . . . . . . . . . . . . . . . . . . . . 2-53

Find Vegetation in a Multispectral Image . . . . . . . . . . . . . . . . . . . . . . . . . 2-54

Reading and Writing Image Data

3
Get Information About Graphics Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-2

Read Image Data into the Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3

Read Multiple Images from a Single Graphics File . . . . . . . . . . . . . . . . . . 3-5

Read and Write 1-Bit Binary Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-6

Write Image Data to File in Graphics Format . . . . . . . . . . . . . . . . . . . . . . . 3-7

Determine Storage Class of Output Files . . . . . . . . . . . . . . . . . . . . . . . . . . 3-8

DICOM Support in Image Processing Toolbox . . . . . . . . . . . . . . . . . . . . . . 3-9

Read Metadata from DICOM Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-10

Private DICOM Metadata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-10
Create Your Own Copy of DICOM Dictionary . . . . . . . . . . . . . . . . . . . . . . 3-11

vi Contents
 Read Image Data from DICOM Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-12
View DICOM Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-12

Write Image Data to DICOM Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-13

Include Metadata with Image Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-13

Explicit Versus Implicit VR Attributes . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-14

Remove Confidential Information from a DICOM File . . . . . . . . . . . . . . . 3-15

Create New DICOM Series . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-16

Mayo Analyze 7.5 Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-18

Interfile Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-19

Work with High Dynamic Range Images . . . . . . . . . . . . . . . . . . . . . . . . . . 3-20

Read HDR Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-20
Display and Process HDR Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-20
Create High Dynamic Range Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-21
Write High Dynamic Range Image to File . . . . . . . . . . . . . . . . . . . . . . . . 3-21

Display High Dynamic Range Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-22

Displaying and Exploring Images

4
Image Display and Exploration Overview . . . . . . . . . . . . . . . . . . . . . . . . . . 4-2

Display an Image in a Figure Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-3

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-3
Specifying the Initial Image Magnification . . . . . . . . . . . . . . . . . . . . . . . . 4-5
Controlling the Appearance of the Figure . . . . . . . . . . . . . . . . . . . . . . . . . 4-5

Display Multiple Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-7

Display Multiple Images in Separate Figure Windows . . . . . . . . . . . . . . . . 4-7
Display Multiple Images in a Montage . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-7
Display Images Individually in the Same Figure . . . . . . . . . . . . . . . . . . . . 4-9
Compare a Pair of Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-10

View Thumbnails of Images in Folder or Datastore . . . . . . . . . . . . . . . . . 4-11

Interact with Images Using Image Viewer App . . . . . . . . . . . . . . . . . . . . . 4-17

Open Image Viewer App . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-18
Initial Image Magnification in Image Viewer App . . . . . . . . . . . . . . . . . . 4-19
Choose Colormap Used by Image Viewer App . . . . . . . . . . . . . . . . . . . . . 4-19
Import Image Data from Workspace into Image Viewer App . . . . . . . . . . 4-20
Export Image Data from Image Viewer App to Workspace . . . . . . . . . . . . 4-21
Save Image Data Displayed in Image Viewer . . . . . . . . . . . . . . . . . . . . . . 4-22
Close the Image Viewer App . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-22
Print Images Displayed in Image Viewer App . . . . . . . . . . . . . . . . . . . . . 4-23

vii
 Explore Images with Image Viewer App . . . . . . . . . . . . . . . . . . . . . . . . . . 4-24
Explore Images Using the Overview Tool . . . . . . . . . . . . . . . . . . . . . . . . 4-24
Pan Images Displayed in Image Viewer App . . . . . . . . . . . . . . . . . . . . . . 4-25
Zoom Images in the Image Viewer App . . . . . . . . . . . . . . . . . . . . . . . . . . 4-26
Specify Image Magnification in Image Viewer . . . . . . . . . . . . . . . . . . . . . 4-26

Get Pixel Information in Image Viewer App . . . . . . . . . . . . . . . . . . . . . . . 4-28

Determine Individual Pixel Values in Image Viewer . . . . . . . . . . . . . . . . . 4-28
Determine Pixel Values in an Image Region . . . . . . . . . . . . . . . . . . . . . . 4-29
Determine Image Display Range in Image Viewer . . . . . . . . . . . . . . . . . . 4-32

Measure Distance Between Pixels in Image Viewer App . . . . . . . . . . . . . 4-34

Determine Distance Between Pixels Using Distance Tool . . . . . . . . . . . . . 4-34
Export Endpoint and Distance Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-35
Customize the Appearance of the Distance Tool . . . . . . . . . . . . . . . . . . . 4-36

Get Image Information in Image Viewer App . . . . . . . . . . . . . . . . . . . . . . 4-37

Adjust Image Contrast in Image Viewer App . . . . . . . . . . . . . . . . . . . . . . 4-39

Open the Adjust Contrast Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-39
Adjust Image Contrast Using the Histogram Window . . . . . . . . . . . . . . . 4-41
Adjust Image Contrast Using Window/Level Tool . . . . . . . . . . . . . . . . . . . 4-42
Make Contrast Adjustments Permanent . . . . . . . . . . . . . . . . . . . . . . . . . 4-44

Interactive Contrast Adjustment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-46

Crop Image Using Image Viewer App . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-47

Explore 3-D Volumetric Data with Volume Viewer App . . . . . . . . . . . . . . 4-50

Load Volume Data into the Volume Viewer . . . . . . . . . . . . . . . . . . . . . . . 4-50
View the Volume Data in the Volume Viewer . . . . . . . . . . . . . . . . . . . . . . 4-52
Adjust View of Volume Data in Volume Viewer . . . . . . . . . . . . . . . . . . . . . 4-55
Refine the View with the Rendering Editor . . . . . . . . . . . . . . . . . . . . . . . 4-57
Save Volume Viewer Rendering and Camera Configuration Settings . . . . 4-62

Explore 3-D Labeled Volumetric Data with Volume Viewer App . . . . . . . 4-63
Load Labeled Volume and Intensity Volume into Volume Viewer . . . . . . . 4-63
View Labeled Volume in Volume Viewer . . . . . . . . . . . . . . . . . . . . . . . . . 4-65
Embed Labeled Volume with Intensity Volume . . . . . . . . . . . . . . . . . . . . 4-66

View Image Sequences in Video Viewer App . . . . . . . . . . . . . . . . . . . . . . . 4-71

View MRI Sequence Using Video Viewer App . . . . . . . . . . . . . . . . . . . . . 4-71
Configure Video Viewer App . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-74
Specifying the Frame Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-75
Specify Color Map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-76
Get Information about an Image Sequence . . . . . . . . . . . . . . . . . . . . . . . 4-76

Convert Multiframe Image to Movie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-78

Display Different Image Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-79

Display Indexed Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-79
Display Grayscale Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-79
Display Binary Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-81
Display Truecolor Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-82

viii Contents
 Add Color Bar to Displayed Grayscale Image . . . . . . . . . . . . . . . . . . . . . . 4-84

Print Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-86

Graphics Object Properties That Impact Printing . . . . . . . . . . . . . . . . . . 4-86

Manage Display Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-87

Retrieve Values of Toolbox Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . 4-87
Set Values of Toolbox Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-87

Building GUIs with Modular Tools

5
Build Custom Image Processing Apps Using Modular Interactive Tools
.......................................................... 5-2

Interactive Modular Tool Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-7

Display Target Image in Figure Window . . . . . . . . . . . . . . . . . . . . . . . . . . 5-8
Associate Modular Tools with Target Image . . . . . . . . . . . . . . . . . . . . . . . 5-8
Associate Modular Tools with Particular Target Image . . . . . . . . . . . . . . . 5-9
Get Handle to Target Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-10
Specify Parent of Modular Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-12
Position Modular Tools in GUI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-14
Adding Navigation Aids to GUI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-15

Build App to Display Pixel Information . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-19

Build App for Navigating Large Images . . . . . . . . . . . . . . . . . . . . . . . . . . 5-21

Customize Modular Tool Interactivity . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-23

Build Image Comparison Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-24

Create Angle Measurement Tool Using ROI Objects . . . . . . . . . . . . . . . . 5-27

Geometric Transformations
6
Resize an Image with imresize Function . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-2

Rotate an Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-6

Crop an Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-8

Translate an Image using imtranslate Function . . . . . . . . . . . . . . . . . . . . 6-10

2-D and 3-D Geometric Transformation Process Overview . . . . . . . . . . . 6-13

Create Geometric Transformation Object . . . . . . . . . . . . . . . . . . . . . . . . 6-13
Perform the Geometric Transformation . . . . . . . . . . . . . . . . . . . . . . . . . . 6-16

ix
 Matrix Representation of Geometric Transformations . . . . . . . . . . . . . . . 6-17
2-D Affine Transformations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-17
2-D Projective Transformations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-18
Create Composite 2-D Affine Transformations . . . . . . . . . . . . . . . . . . . . . 6-19
3-D Affine Transformations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-21

Specify Fill Values in Geometric Transformation Output . . . . . . . . . . . . . 6-23

Perform Simple 2-D Translation Transformation . . . . . . . . . . . . . . . . . . . 6-25

N-Dimensional Spatial Transformations . . . . . . . . . . . . . . . . . . . . . . . . . . 6-29

Register Two Images Using Spatial Referencing to Enhance Display . . . 6-31

Create a Gallery of Transformed Images . . . . . . . . . . . . . . . . . . . . . . . . . . 6-36

Exploring a Conformal Mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-52

Exploring Slices from a 3-Dimensional MRI Data Set . . . . . . . . . . . . . . . 6-64

Padding and Shearing an Image Simultaneously . . . . . . . . . . . . . . . . . . . 6-71

Image Registration
7
Approaches to Registering Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7-2
Registration Estimator App . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7-2
Intensity-Based Automatic Image Registration . . . . . . . . . . . . . . . . . . . . . 7-3
Control Point Registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7-4
Automated Feature Detection and Matching . . . . . . . . . . . . . . . . . . . . . . . 7-5

Register Images Using Registration Estimator App . . . . . . . . . . . . . . . . . . 7-6

Load Images, Spatial Referencing Information, and Initial

Transformation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7-14
Load Images from File or Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . 7-14
Provide Spatial Referencing Information . . . . . . . . . . . . . . . . . . . . . . . . . 7-15
Provide an Initial Geometric Transformation . . . . . . . . . . . . . . . . . . . . . . 7-15

Tune Registration Settings in Registration Estimator App . . . . . . . . . . . 7-17

Geometric Transformations Supported by Registration Estimator App . . 7-17
Feature-Based Registration Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7-17
Intensity-Based Registration Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . 7-18
Nonrigid and Post-Processing Settings . . . . . . . . . . . . . . . . . . . . . . . . . . 7-18

Export Results from Registration Estimator App . . . . . . . . . . . . . . . . . . . 7-20

Export Results to the Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7-20
Generate a Function . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7-20

Techniques Supported by Registration Estimator App . . . . . . . . . . . . . . . 7-22

Feature-Based Registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7-22
Intensity-Based Registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7-22

x Contents
 Nonrigid Registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7-23

Intensity-Based Automatic Image Registration . . . . . . . . . . . . . . . . . . . . 7-24

Create an Optimizer and Metric for Intensity-Based Image Registration

......................................................... 7-26

Use Phase Correlation as Preprocessing Step in Registration . . . . . . . . 7-27

Register Multimodal MRI Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7-32

Register Multimodal 3-D Medical Images . . . . . . . . . . . . . . . . . . . . . . . . . 7-42

Registering an Image Using Normalized Cross-Correlation . . . . . . . . . . 7-50

Control Point Registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7-56

Geometric Transformation Types for Control Point Registration . . . . . . 7-58

Control Point Selection Procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7-60

Start the Control Point Selection Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7-62

Find Visual Elements Common to Both Images . . . . . . . . . . . . . . . . . . . . 7-64

Use Scroll Bars to View Other Parts of an Image . . . . . . . . . . . . . . . . . . . 7-64
Use the Detail Rectangle to Change the View . . . . . . . . . . . . . . . . . . . . . 7-64
Pan the Image Displayed in the Detail Window . . . . . . . . . . . . . . . . . . . . 7-64
Zoom In and Out on an Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7-65
Specify the Magnification of the Images . . . . . . . . . . . . . . . . . . . . . . . . . 7-65
Lock the Relative Magnification of the Moving and Fixed Images . . . . . . 7-66

Select Matching Control Point Pairs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7-68

Pick Control Point Pairs Manually . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7-68
Use Control Point Prediction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7-69
Move Control Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7-71
Delete Control Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7-71

Export Control Points to the Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . 7-73

Find Image Rotation and Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7-75

Use Cross-Correlation to Improve Control Point Placement . . . . . . . . . . 7-79

Register Images with Projection Distortion Using Control Points . . . . . 7-80

Designing and Implementing Linear Filters for Image Data

8
What Is Image Filtering in the Spatial Domain? . . . . . . . . . . . . . . . . . . . . 8-2
Convolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8-2
Correlation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8-3

xi
 Integral Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8-5

Filter Grayscale and Truecolor (RGB) Images using imfilter Function . . . 8-7

imfilter Boundary Padding Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8-11

Filter Images Using Predefined Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8-14

Generate HDL Code for Image Sharpening . . . . . . . . . . . . . . . . . . . . . . . . 8-17

What is Guided Image Filtering? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8-24

Perform Flash/No-flash Denoising with Guided Filter . . . . . . . . . . . . . . . 8-25

Segment Thermographic Image after Edge-Preserving Filtering . . . . . . 8-29

Apply Multiple Filters to Integral Image . . . . . . . . . . . . . . . . . . . . . . . . . . 8-33

Reduce Noise in Image Gradients . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8-38

Design Linear Filters in the Frequency Domain . . . . . . . . . . . . . . . . . . . . 8-47

Two-Dimensional Finite Impulse Response (FIR) Filters . . . . . . . . . . . . . 8-47
Transform 1-D FIR Filter to 2-D FIR Filter . . . . . . . . . . . . . . . . . . . . . . . 8-47
Frequency Sampling Method . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8-49
Windowing Method . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8-50
Creating the Desired Frequency Response Matrix . . . . . . . . . . . . . . . . . . 8-51
Computing the Frequency Response of a Filter . . . . . . . . . . . . . . . . . . . . 8-52

Transforms
9
Fourier Transform . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9-2
Definition of Fourier Transform . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9-2
Discrete Fourier Transform . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9-5
Applications of the Fourier Transform . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9-8

Discrete Cosine Transform . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9-12

DCT Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9-12
The DCT Transform Matrix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9-13
Image Compression with the Discrete Cosine Transform . . . . . . . . . . . . . 9-13

Hough Transform . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9-16

Detect Lines in Images Using Hough . . . . . . . . . . . . . . . . . . . . . . . . . . . 9-16

Radon Transform . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9-21

Plot the Radon Transform of an Image . . . . . . . . . . . . . . . . . . . . . . . . . . 9-23
Viewing the Radon Transform as an Image . . . . . . . . . . . . . . . . . . . . . . . 9-25

Detect Lines Using the Radon Transform . . . . . . . . . . . . . . . . . . . . . . . . . 9-27

xii Contents
 The Inverse Radon Transformation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9-32
Inverse Radon Transform Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9-32
Reconstructing an Image from Parallel Projection Data . . . . . . . . . . . . . . 9-34

Fan-Beam Projection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9-37

Image Reconstruction from Fan-Beam Projection Data . . . . . . . . . . . . . . 9-39
Reconstruct Image using Inverse Fanbeam Projection . . . . . . . . . . . . . . . 9-40

Reconstructing an Image from Projection Data . . . . . . . . . . . . . . . . . . . . 9-44

Morphological Operations
10
Types of Morphological Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10-2
Morphological Dilation and Erosion . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10-2
Operations Based on Dilation and Erosion . . . . . . . . . . . . . . . . . . . . . . . 10-4

Structuring Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10-9

Determine the Origin of a Structuring Element . . . . . . . . . . . . . . . . . . . 10-10
Structuring Element Decomposition . . . . . . . . . . . . . . . . . . . . . . . . . . . 10-11

Border Padding for Morphology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10-13

Morphological Reconstruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10-14

Understanding the Marker and Mask . . . . . . . . . . . . . . . . . . . . . . . . . . 10-15
Finding Peaks and Valleys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10-16

Pixel Connectivity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10-22

Defining Connectivity in an Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10-22
Choosing a Connectivity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10-23
Specifying Custom Connectivities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10-23

Lookup Table Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10-25

Creating a Lookup Table . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10-25
Using a Lookup Table . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10-25

Dilate an Image to Enlarge a Shape . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10-27

Remove Thin Lines Using Erosion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10-31

Use Morphological Opening to Extract Large Image Features . . . . . . . 10-33

Flood-Fill Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10-38

Specifying Connectivity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10-38
Specifying the Starting Point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10-38
Filling Holes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10-39

Detect Cell Using Edge Detection and Morphology . . . . . . . . . . . . . . . . 10-41

Granulometry of Snowflakes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10-46

xiii
 Distance Transform of a Binary Image . . . . . . . . . . . . . . . . . . . . . . . . . . 10-50

Label and Measure Connected Components in a Binary Image . . . . . . 10-52

Detect Connected Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10-52
Label Connected Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10-53
Select Objects in a Binary Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10-54
Measure Properties of Connected Components . . . . . . . . . . . . . . . . . . . 10-54

Analyzing and Enhancing Images

11
Pixel Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-3
Determine Values of Individual Pixels in Images . . . . . . . . . . . . . . . . . . . 11-3

Intensity Profile of Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-5

Create an Intensity Profile of an Image . . . . . . . . . . . . . . . . . . . . . . . . . . 11-5
Create Intensity Profile of an RGB Image . . . . . . . . . . . . . . . . . . . . . . . . 11-6

Contour Plot of Image Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-8

Create Contour Plot of Image Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-8

Measuring Regions in Grayscale Images . . . . . . . . . . . . . . . . . . . . . . . . . 11-10

Finding the Length of a Pendulum in Motion . . . . . . . . . . . . . . . . . . . . . 11-16

Create Image Histogram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-22

Image Mean, Standard Deviation, and Correlation Coefficient . . . . . . . 11-24

Edge Detection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-25

Detect Edges in Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-25

Boundary Tracing in Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-27

Trace Boundaries of Objects in Images . . . . . . . . . . . . . . . . . . . . . . . . . 11-27
Select First Step and Direction for Tracing . . . . . . . . . . . . . . . . . . . . . . 11-30

Quadtree Decomposition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-32

Perform Quadtree Decomposition on an Image . . . . . . . . . . . . . . . . . . . 11-32

Detect and Measure Circular Objects in an Image . . . . . . . . . . . . . . . . . 11-35

Identifying Round Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-48

Measuring Angle of Intersection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-56

Measuring the Radius of a Roll of Tape . . . . . . . . . . . . . . . . . . . . . . . . . . 11-62

Calculate Statistical Measures of Texture . . . . . . . . . . . . . . . . . . . . . . . . 11-65

Texture Analysis Using the Gray-Level Co-Occurrence Matrix (GLCM)

........................................................ 11-67

xiv Contents
Create a Gray-Level Co-Occurrence Matrix . . . . . . . . . . . . . . . . . . . . . . . 11-68

Specify Offset Used in GLCM Calculation . . . . . . . . . . . . . . . . . . . . . . . . 11-69

Derive Statistics from GLCM and Plot Correlation . . . . . . . . . . . . . . . . . 11-70

Adjust Image Intensity Values to Specified Range . . . . . . . . . . . . . . . . . 11-72

Gamma Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-74

Specify Gamma when Adjusting Contrast . . . . . . . . . . . . . . . . . . . . . . . 11-74

Contrast Enhancement Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-76

Specify Contrast Adjustment Limits . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-80

Specify Contast Adjustment Limits as Range . . . . . . . . . . . . . . . . . . . . 11-80
Set Image Intensity Adjustment Limits Automatically . . . . . . . . . . . . . . 11-81

Histogram Equalization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-82

Adjust Intensity Values Using Histogram Equalization . . . . . . . . . . . . . 11-82
Plot Transformation Curve for Histogram Equalization . . . . . . . . . . . . . 11-84

Adaptive Histogram Equalization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-86

Adjust Contrast using Adaptive Histogram Equalization . . . . . . . . . . . . 11-86

Enhance Color Separation Using Decorrelation Stretching . . . . . . . . . 11-88

Simple Decorrelation Stretching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-88
Linear Contrast Stretching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-92
Decorrelation Stretch with Linear Contrast Stretch . . . . . . . . . . . . . . . 11-92

Enhance Multispectral Color Composite Images . . . . . . . . . . . . . . . . . . 11-94

Low-Light Image Enhancement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-104

Apply Gaussian Smoothing Filters to Images . . . . . . . . . . . . . . . . . . . . 11-114

Noise Removal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-120

Remove Noise by Linear Filtering . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-120
Remove Noise Using an Averaging Filter and a Median Filter . . . . . . . 11-120
Remove Noise By Adaptive Filtering . . . . . . . . . . . . . . . . . . . . . . . . . . 11-123

Compute 3-D Superpixels of Input Volumetric Intensity Image . . . . . 11-126

Image Quality Metrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-129

Full-Reference Quality Metrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-129
No-Reference Quality Metrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-130

Train and Use No-Reference Quality Assessment Model . . . . . . . . . . . 11-131

NIQE Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-131
BRISQUE Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-133

Obtain Local Structural Similarity Index . . . . . . . . . . . . . . . . . . . . . . . 11-135

Compare Image Quality at Various Compression Levels . . . . . . . . . . . 11-137

xv
 Anatomy of Imatest Extended eSFR Chart . . . . . . . . . . . . . . . . . . . . . . 11-139
Slanted Edge Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-139
Gray Patch Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-140
Color Patch Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-141
Registration Markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-141

Evaluate Quality Metrics on eSFR Test Chart . . . . . . . . . . . . . . . . . . . . 11-143

Correct Colors Using Color Correction Matrix . . . . . . . . . . . . . . . . . . . 11-155

Install Sample Data Using Add-On Explorer . . . . . . . . . . . . . . . . . . . . . 11-162

ROI-Based Processing
12
Create a Binary Mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12-2
Create a Binary Mask from a Grayscale Image . . . . . . . . . . . . . . . . . . . . 12-2
Create Binary Mask Using an ROI Function . . . . . . . . . . . . . . . . . . . . . . 12-2
Create Binary Mask Based on Color Values . . . . . . . . . . . . . . . . . . . . . . . 12-4
Create Binary Mask Without an Associated Image . . . . . . . . . . . . . . . . . 12-4

ROI Creation Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12-5

Create ROI Using Creation Convenience Functions . . . . . . . . . . . . . . . . . 12-8
Create ROI Using draw Function . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12-10
Using ROIs in Apps Created with App Designer . . . . . . . . . . . . . . . . . . 12-14

ROI Migration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12-16

ROI Object Migration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12-16
ROI Object Function Migration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12-16
ROI Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12-18

Overview of ROI Filtering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12-19

Sharpen Region of Interest in an Image . . . . . . . . . . . . . . . . . . . . . . . . . 12-20

Apply Custom Filter to Region of Interest in Image . . . . . . . . . . . . . . . . 12-23

Fill Region of Interest in an Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12-26

Calculate Properties of Image Regions Using Image Region Analyzer

........................................................ 12-28

Filter Images on Properties Using Image Region Analyzer App . . . . . . 12-33

Create Image Comparison Tool Using ROIs . . . . . . . . . . . . . . . . . . . . . . 12-37

Use Freehand ROIs to Refine Segmentation Masks . . . . . . . . . . . . . . . . 12-44

Rotate Rectangle ROI to interact with imrotate . . . . . . . . . . . . . . . . . . . 12-49

Subsample or Simplify a Freehand ROI . . . . . . . . . . . . . . . . . . . . . . . . . . 12-54

xvi Contents
 Measure Distances in an Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12-64

Use Polyline to Create An Angle Measurement Tool . . . . . . . . . . . . . . . 12-71

Create Freehand ROI Editing Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12-74

Use Wait Function After Drawing ROI . . . . . . . . . . . . . . . . . . . . . . . . . . . 12-80

Interactive Image Inpainting Using Exemplar Matching . . . . . . . . . . . . 12-83

Image Segmentation
13
Texture Segmentation Using Gabor Filters . . . . . . . . . . . . . . . . . . . . . . . . 13-2

Texture Segmentation Using Texture Filters . . . . . . . . . . . . . . . . . . . . . . . 13-7

Color-Based Segmentation Using the L*a*b* Color Space . . . . . . . . . . . 13-15

Color-Based Segmentation Using K-Means Clustering . . . . . . . . . . . . . 13-21

Marker-Controlled Watershed Segmentation . . . . . . . . . . . . . . . . . . . . . 13-26

Segment Image and Create Mask Using Color Thresholder App . . . . . 13-42

Acquire Live Images in the Color Thresholder App . . . . . . . . . . . . . . . . 13-55

Image Segmentation Using Point Clouds in the Color Thresholder App

........................................................ 13-61

Getting Started with Image Segmenter App . . . . . . . . . . . . . . . . . . . . . . 13-68

Open Image Segmenter App and Load Data . . . . . . . . . . . . . . . . . . . . . 13-68
Create and Add Regions to Segmented Mask . . . . . . . . . . . . . . . . . . . . 13-68
Refine Segmented Mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13-69
Export Segmentation Results . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13-70

Segment Image Using Thresholding in Image Segmenter . . . . . . . . . . 13-71

Segment Image By Drawing Regions Using Image Segmenter . . . . . . . 13-75

Segment Image Using Active Contours in Image Segmenter . . . . . . . . 13-81

Refine Segmentation Using Morphology in Image Segmenter . . . . . . . 13-87

Segment Image Using Graph Cut in Image Segmenter . . . . . . . . . . . . . 13-92

Segment Image Using Local Graph Cut (Grabcut) in Image Segmenter

....................................................... 13-101

Segment Image Using Find Circles in Image Segmenter . . . . . . . . . . 13-110

xvii
 Segment Image Using Auto Cluster in Image Segmenter . . . . . . . . . . 13-117

Plot Land Classification with Color Features and Superpixels . . . . . . 13-123

Segment Lungs from 3-D Chest Scan . . . . . . . . . . . . . . . . . . . . . . . . . . 13-126

Image Deblurring
14
Image Deblurring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14-2
Deblurring Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14-3

Deblur Images Using a Wiener Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14-5

Deblur Images Using a Regularized Filter . . . . . . . . . . . . . . . . . . . . . . . 14-12

Adapt the Lucy-Richardson Deconvolution for Various Image Distortions

........................................................ 14-22
Reduce the Effect of Noise Amplification . . . . . . . . . . . . . . . . . . . . . . . 14-22
Account for Nonuniform Image Quality . . . . . . . . . . . . . . . . . . . . . . . . . 14-22
Handle Camera Read-Out Noise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14-23
Handling Undersampled Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14-23
Refine the Result . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14-23

Deblurring Images Using the Lucy-Richardson Algorithm . . . . . . . . . . 14-25

Adapt Blind Deconvolution for Various Image Distortions . . . . . . . . . . 14-37

Deblur images using blind deconvolution . . . . . . . . . . . . . . . . . . . . . . . 14-37
Refining the Result . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14-45

Deblurring Images Using the Blind Deconvolution Algorithm . . . . . . . 14-46

Create Your Own Deblurring Functions . . . . . . . . . . . . . . . . . . . . . . . . . . 14-54

Avoid Ringing in Deblurred Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14-55

Color
15
Display Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15-2

Reduce the Number of Colors in an Image . . . . . . . . . . . . . . . . . . . . . . . . 15-3

Reduce Colors of Truecolor Image Using Color Approximation . . . . . . . . 15-3
Reduce Colors of Indexed Image Using imapprox . . . . . . . . . . . . . . . . . . 15-7
Reduce Colors Using Dithering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15-7

Profile-Based Color Space Conversions . . . . . . . . . . . . . . . . . . . . . . . . . . 15-10

Read ICC Profiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15-10

xviii Contents
 Write ICC Profile Information to a File . . . . . . . . . . . . . . . . . . . . . . . . . 15-10
Convert RGB to CMYK Using ICC Profiles . . . . . . . . . . . . . . . . . . . . . . . 15-11
What is Rendering Intent in Profile-Based Conversions? . . . . . . . . . . . . 15-12

Device-Independent Color Spaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15-13

Convert Between Device-Independent Color Spaces . . . . . . . . . . . . . . . 15-13
Color Space Data Encodings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15-13

Understanding Color Spaces and Color Space Conversion . . . . . . . . . . 15-15

RGB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15-15
HSV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15-16
CIE 1976 XYZ and CIE 1976 L*a*b* . . . . . . . . . . . . . . . . . . . . . . . . . . . 15-17
YCbCr . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15-18
YIQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15-19

Convert Between RGB and HSV Color Spaces . . . . . . . . . . . . . . . . . . . . 15-20

Determine If L*a*b* Value Is in RGB Gamut . . . . . . . . . . . . . . . . . . . . . . 15-24

Comparison of Auto White Balance Algorithms . . . . . . . . . . . . . . . . . . . 15-25

Big Image Processing

16
Set Spatial Referencing for Big Images . . . . . . . . . . . . . . . . . . . . . . . . . . 16-2

Process Big Images Efficiently Using Partial Images or Lower Resolutions

......................................................... 16-8

Process Big Images Efficiently Using Mask . . . . . . . . . . . . . . . . . . . . . . 16-17

Explore Big Image Details with Interactive ROIs . . . . . . . . . . . . . . . . . . 16-28

Warp Big Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16-35

Create Labeled bigimage from ROIs and Masks . . . . . . . . . . . . . . . . . . . 16-40

Neighborhood and Block Operations

17
Neighborhood or Block Processing: An Overview . . . . . . . . . . . . . . . . . . . 17-2

Sliding Neighborhood Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17-3

Determine the Center Pixel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17-3
General Algorithm of Sliding Neighborhood Operations . . . . . . . . . . . . . 17-4
Border Padding Behavior in Sliding Neighborhood Operations . . . . . . . . 17-4
Implementing Linear and Nonlinear Filtering as Sliding Neighborhood
Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17-4

xix
 Distinct Block Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17-6
Implement Block Processing Using the blockproc Function . . . . . . . . . . . 17-6
Apply Padding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17-7

Block Size and Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17-9

TIFF Image Characteristics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17-9
Choose Block Size to Optimize blockproc Performance . . . . . . . . . . . . . . 17-9

Parallel Block Processing on Large Image Files . . . . . . . . . . . . . . . . . . . 17-12

What is Parallel Block Processing? . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17-12
When to Use Parallel Block Processing . . . . . . . . . . . . . . . . . . . . . . . . . 17-12
How to Use Parallel Block Processing . . . . . . . . . . . . . . . . . . . . . . . . . . 17-12

Perform Block Processing on Image Files in Unsupported Formats . . . 17-14

Learning More About the LAN File Format . . . . . . . . . . . . . . . . . . . . . . 17-14
Parsing the Header . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17-14
Reading the File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17-15
Examining the LanAdapter Class . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17-16
Using the LanAdapter Class with blockproc . . . . . . . . . . . . . . . . . . . . . 17-19

Use Column-wise Processing to Speed Up Sliding Neighborhood or

Distinct Block Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17-20
Using Column Processing with Sliding Neighborhood Operations . . . . . 17-20
Using Column Processing with Distinct Block Operations . . . . . . . . . . . 17-21

Block Processing Large Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17-23

Compute Statistics for Large Images . . . . . . . . . . . . . . . . . . . . . . . . . . . 17-28

Deep Learning
18
Train and Apply Denoising Neural Networks . . . . . . . . . . . . . . . . . . . . . . 18-2
Remove Gaussian Noise Using Pretrained Network . . . . . . . . . . . . . . . . 18-2
Train a Denoising Network Using Built-In Layers . . . . . . . . . . . . . . . . . . 18-2
Train Fully Customized Denoising Neural Network . . . . . . . . . . . . . . . . . 18-3

Remove Noise from Color Image Using Pretrained Neural Network . . . 18-5

Single Image Super-Resolution Using Deep Learning . . . . . . . . . . . . . . 18-11

JPEG Image Deblocking Using Deep Learning . . . . . . . . . . . . . . . . . . . . 18-25

Image Processing Operator Approximation Using Deep Learning . . . . 18-38

Semantic Segmentation of Multispectral Images Using Deep Learning

........................................................ 18-53

3-D Brain Tumor Segmentation Using Deep Learning . . . . . . . . . . . . . . 18-70

Deep Learning Classification of Large Multiresolution Images . . . . . . 18-82

xx Contents
 Neural Style Transfer Using Deep Learning . . . . . . . . . . . . . . . . . . . . . 18-103

Code Generation for Image Processing Toolbox Functions

19
Code Generation for Image Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . 19-2
Code Generation Using a Shared Library . . . . . . . . . . . . . . . . . . . . . . . . 19-2

List of Supported Functions with Usage Notes . . . . . . . . . . . . . . . . . . . . . 19-4

Code Generation with Cell Detection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19-8

Setup Your Compiler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19-8
Generate Code . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19-8

GPU Computing with Image Processing Toolbox Functions

20
Image Processing on a GPU . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20-2

List of Supported Functions with Limitations and Other Notes . . . . . . . 20-3

Perform Thresholding and Morphological Operations on a GPU . . . . . . 20-6

Perform Element-Wise Operations on a GPU . . . . . . . . . . . . . . . . . . . . . 20-10

xxi
 1

Getting Started

This topic presents two examples to get you started doing image processing using MATLAB® and the
Image Processing Toolbox software. The examples contain cross-references to other sections in the
documentation that have in-depth discussions on the concepts presented in the examples.

• “Image Processing Toolbox Product Description” on page 1-2

• “Configuration Notes” on page 1-3
• “Compilability” on page 1-4
• “Basic Image Import, Processing, and Export” on page 1-5
• “Correct Nonuniform Illumination and Analyze Foreground Objects” on page 1-10
• “Getting Help” on page 1-18
• “Acknowledgments” on page 1-19
1 Getting Started

Image Processing Toolbox Product Description

Perform image processing, visualization, and analysis

Image Processing Toolbox provides a comprehensive set of reference-standard algorithms and

workflow apps for image processing, analysis, visualization, and algorithm development. You can
perform image segmentation, image enhancement, noise reduction, geometric transformations, and
image registration using deep learning and traditional image processing techniques. The toolbox
supports processing of 2D, 3D, and arbitrarily large images.

Image Processing Toolbox apps let you automate common image processing workflows. You can
interactively segment image data, compare image registration techniques, and batch-process large
datasets. Visualization functions and apps let you explore images, 3D volumes, and videos; adjust
contrast; create histograms; and manipulate regions of interest (ROIs).

You can accelerate your algorithms by running them on multicore processors and GPUs. Many
toolbox functions support C/C++ code generation for desktop prototyping and embedded vision
system deployment.

Key Features
• Image analysis, including segmentation, morphology, statistics, and measurement
• Apps for image region analysis, image batch processing, and image registration
• 3D image processing workflows, including visualization and segmentation
• Image enhancement, filtering, geometric transformations, and deblurring algorithms
• Intensity-based and non-rigid image registration methods
• Support for CUDA enabled NVIDIA GPUs (with Parallel Computing Toolbox™)
• C-code generation support for desktop prototyping and embedded vision system deployment

1-2
 Configuration Notes

Configuration Notes
To determine if the Image Processing Toolbox software is installed on your system, type this
command at the MATLAB prompt.

ver

When you enter this command, MATLAB displays information about the version of MATLAB you are
running, including a list of all toolboxes installed on your system and their version numbers. For a list
of the new features in this version of the toolbox, see the Release Notes documentation.

Many of the toolbox functions are MATLAB files with a series of MATLAB statements that implement
specialized image processing algorithms. You can view the MATLAB code for these functions using
the statement

type function_name

You can extend the capabilities of the toolbox by writing your own files, or by using the toolbox in
combination with other toolboxes, such as the Signal Processing Toolbox™ software and the Wavelet
Toolbox™ software.

For information about installing the toolbox, see the installation guide.

For the most up-to-date information about system requirements, see the system requirements page,
available in the products area at the MathWorks Web site (www.mathworks.com).

1-3
1 Getting Started

Compilability
The Image Processing Toolbox software is compilable with the MATLAB Compiler™ except for the
following functions that launch GUIs:

• cpselect
• implay
• imtool

1-4
 Basic Image Import, Processing, and Export

Basic Image Import, Processing, and Export

This example shows how to read an image into the workspace, adjust the contrast in the image, and
then write the adjusted image to a file.

Step 1: Read and Display an Image

Read an image into the workspace, using the imread command. The example reads one of the
sample images included with the toolbox, an image of a young girl in a file named pout.tif , and
stores it in an array named I . imread infers from the file that the graphics file format is Tagged
Image File Format (TIFF).

I = imread('pout.tif');

Display the image, using the imshow function. You can also view an image in the Image Viewer app.
The imtool function opens the Image Viewer app which presents an integrated environment for
displaying images and performing some common image processing tasks. The Image Viewer app
provides all the image display capabilities of imshow but also provides access to several other tools
for navigating and exploring images, such as scroll bars, the Pixel Region tool, Image Information
tool, and the Contrast Adjustment tool.

imshow(I)

Step 2: Check How the Image Appears in the Workspace

Check how the imread function stores the image data in the workspace, using the whos command.
You can also check the variable in the Workspace Browser. The imread function returns the image
data in the variable I , which is a 291-by-240 element array of uint8 data.

1-5
1 Getting Started

whos I

Name Size Bytes Class Attributes

I 291x240 69840 uint8

Step 3: Improve Image Contrast

View the distribution of image pixel intensities. The image pout.tif is a somewhat low contrast
image. To see the distribution of intensities in the image, create a histogram by calling the imhist
function. (Precede the call to imhist with the figure command so that the histogram does not
overwrite the display of the image I in the current figure window.) Notice how the histogram
indicates that the intensity range of the image is rather narrow. The range does not cover the
potential range of [0, 255], and is missing the high and low values that would result in good contrast.

figure
imhist(I)

Improve the contrast in an image, using the histeq function. Histogram equalization spreads the
intensity values over the full range of the image. Display the image. (The toolbox includes several
other functions that perform contrast adjustment, including imadjust and adapthisteq, and
interactive tools such as the Adjust Contrast tool, available in the Image Viewer.)

I2 = histeq(I);
figure
imshow(I2)

1-6
 Basic Image Import, Processing, and Export

Call the imhist function again to create a histogram of the equalized image I2 . If you compare the
two histograms, you can see that the histogram of I2 is more spread out over the entire range than
the histogram of I .

figure
imhist(I2)

1-7
Exploring the Variety of Random
Documents with Different Content
Jones drew first blood in profusion from Orme’s nose and
mouth, while Harry delivered his right with tremendous force
on Jones’s left ribs and left eye, badly marking the one and
almost entirely closing the other.
8.—​Both slow in answering the call of time; more than a
minute elapsed before they appeared at the scratch, the
heavy hitting in the last round having told its tale. Orme,
instead of going in and taking advantage of his weight and
power of arm, stood out and retreated, by advice of his
friends. The round lasted 17 minutes, and at last was closed
by another desperate rally, Jones improving in his style, and
using both hands well, but the returns of Orme were heaviest
and most effective. Jones threw Orme cleverly in the close.
9.—​Jones jobbed Orme on the nose, and then on the
cheek, but the blows, although well from the shoulder, left no
mark. Orme seemed remarkably slow in showing contusions,
while Jones was already much disfigured. Jones forced Orme
towards his corner; Orme rushed forward as Jones retreated
in turn; he let go both left and right viciously, but was short.
Jones lunged out desperately with his right, and nailing Orme
on the side of the head, knocked him clean down in the
middle of the ring. (Cheers for the Shrewsbury Youth. First
knock-down for Jones.)
10.—​Orme came up smiling, and as Jones made himself up
for following his supposed advantage, surprised him by
dashing in and planting his left a smasher on the nose. A
pounding rally followed, in which some heavy counter-hitting
took place, each man standing well to his gun, until Jones fell
under the ropes.
For the next fifteen rounds the fighting grew quicker, the
sparring less tedious, and the rallies more frequent. Jones,
taking a leaf out of his opponent’s book, planted several
slashing hits with his right on the side of Orme’s head, but
being the taller man, he frequently hit too high, and his hand,
rather than Orme’s hard skull, suffered. The East-Ender took
his punishment patiently, and was with Jones in nearly all his
attempts, with heavy right-handers on the left ribs, which
gradually impaired the force of Jones’s hitting, and when they
got closer still, his ponderous right fell on his cheek-bone or
temple, till Jones was nearly blinded. The Shrewsbury man,
however, was yet as strong as Orme, and was the better
wrestler, for he threw his adversary in several of these
rounds. Towards the 25th round, however, the repeated right-
handers of Orme began to tell their tale, and Jones grew
slower and weaker. In the last-mentioned round Orme led off,
and hit Jones sharply in the head, repeating the dose without
a return. Jones attempted to force a rally, but Orme got down
more cleverly than heretofore. Jones fought with great
fairness, and was much applauded.
26.—​Orme showed few marks of punishment, and was
sent up by his seconds very clean, while Jones grew more
disfigured each round. The men fought somewhat wildly, but
managed to exchange some stinging counters, which led to a
close; but Jones was now unable to throw his opponent, and
both were down.
27 to 35.—​(Two hours and twenty-nine minutes had
elapsed, and no odds were obtainable; indeed, it was yet on
the cards for either to win.) Burn called to his man, Jones, to
come away from Orme’s corner, and let the East-Ender come
to him. Jones, who was evidently distressed, did so, and the
same style of fighting was pursued. Jones fell from weakness
in the 32nd round, which Orme noting, he forced the fighting
again, and, in the 35th round delivered several of his slogging
hits at close quarters with such staggering effect that Jones,
whose returns were slight, dropped in the rally.
36.—​The last two or three rounds had told their tale, and it
was evident that Jones’s chance was fading. (3 to 1 offered
 on Orme without takers.) Jones came up as game as a man
could be, and still tried to look cheerful; but his knees were
tottery, and he was plainly “going.” Orme went to him, forced
another rally, and, after one or two heavy hits, dropped him
with a right-hander. (“Take him away.”)
37 and 38.—​In each of these rounds Jones came to the
scratch, and made one or two futile attempts to stop his
adversary’s rush, dropping on his knee on receiving a hit from
Orme.
39.—​Orme paused, as if hesitating to strike his opponent,
who was quite at his mercy. Jones made a peck at him, and
received a touch on the old spot in the ribs. It was but a
push, yet it sent him to grass sideways.
40.—​Loud cries of “Take him away!” Jones faced his
opponent for the fortieth time, but he was all abroad. Orme
gradually forced him back into his corner, and harmlessly sent
him down, when Hannan threw up the sponge in token of
Jones’s defeat.
The fight lasted two hours and forty-five minutes, including
several tedious rounds, and much useless breaking ground,
advancing, and retreating. It was, nevertheless, a truly hard
fight, and the two powerful boxers who made their début on
this occasion inflicted severe mutual punishment. It was
manifest, early in the battle, that Orme was the more lasting
of the two, and much the heavier hitter. It seemed, also, that
Jones had commenced his career too early.

Each man proved himself thorough game, and

possessed of undoubted stamina. Orme, in beating a
man taller, longer in the reach, a shade heavier, and
much the favourite in the betting, had done all
expected of him, and his friends resolved on quietly
biding their time, and—​when that time did come—​on
playing for a good stake. Their confidence in their
champion was shown by the character of the next
antagonist selected for him being no other than Nat
Langham, whose fame already stood high among the
few who had an opportunity of judging of his merits.
Orme’s coup d’essai having proved eminently
satisfactory, and Master Nat having been waiting in
vain for a suitable customer from the day when he
defeated Sparkes the Australian, as related in the
previous chapter, a match was proposed for £50 a
side, to be decided on the 6th day of May, 1851. A
trip down the river being agreed on, “The Queen of
the Thames” was the vessel engaged, and the oft-
described voyage having been effected at two
o’clock, the ring was pitched by Ould Tom Oliver, Tom
Callas, and assistants. At three Orme tossed in his
cap, and Langham followed his example. The usual
ridiculous haggling with regard to a referee ensued,
during which we adjourned to another part of the
marsh, where a merry little mill between an Israelite
and a son of Ishmael, in the person of a gipsy lad,
which had been arranged for decision on this
occasion, came off. The Hebrew was worsted after a
stubborn resistance. This settled, we returned to the
legitimate roped quadrangle called “the ring”
because it is not round. Here, after positively
refusing an arbitration which carries with its exercise
nought but unpleasantness, a veteran Ring-goer (Old
Tom Oliver), with the snows of sixty winters on his
head, accepted the office. At fifteen minutes past
four the men were escorted to the scratch. Orme
was esquired by Jemmy Welsh and Jack Grant;
Langham by D’Orsay Turner and Johnny Hannan.
The men, at scale, were stated to be respectively
11st. 5lb. and 11st. 2lb.; but upon this point we have
our doubts, Orme appearing upon every point far the
heavier man. Orme had trained upon the Chatham
hills, and was as tough-looking a dark grained bit of
stuff as ever was selected by shipwright of that
famed dockyard locality. Langham took his
breathings on Newmarket Heath, and was as fine as
any thoroughbred fresh from its gallops. The betting
was now even, Langham for choice. After waiting a
few minutes for a hailstorm, which, according to the
precedent of this “merry month,” will have its way, at
a quarter past four the men stood up for
THE FIGHT.
Round 1.—​Orme stood firmly, with his elbows rather high,
his fists level and almost square, and his heavy, thick, round
arms in anything but an elegant position; yet he loomed big,
massive, and formidable, and his deep chest, matted with
coarse black hair, and complexion of the deepest gipsy brown,
gave an impression of hardihood and enduring strength.
Langham was fine and fair in skin, clean built, with handsome
shoulders and biceps, good length of reach and active pins.
His attitude was artistic; the left well up and forward, the
right playing easily across the mark, covering the short ribs,
and ready for stop or delivery. Orme seemed a little flurried
and worked forward, Langham shifting and retreating before
him, coolly and collectedly. Orme let go his left, which
Langham stopped, and caught Orme sharply on the
cheekbone; Langham followed Orme on the bustle, and
reached him slightly with the right, when Orme ducked his
head, turned clean round, and rose up outside the ropes
(laughter). Langham beckoned Orme, who came inside,
nodding his head and smiling. Langham, cautious and steady,
would not lead off. Orme tried to make his left, but was
stopped, and following it immediately with his right was out
of distance; Langham hit Orme sharply with the left in a quick
exchange, drawing “first blood” from his mouth and nose.
The men got at it, and fighting was the order of the round,
Orme giving Langham a heavy body hit, but catching pepper
about the frontispiece. Both down, Langham first, but with
the best of the hitting.
2.—​Nat retreating, measuring Orme with his left, till the
latter let fly; pretty counter-hits with the left, Orme home on
Langham’s cheek, Langham on Orme’s nasal organ, from
which more of the ruby distilled. Some exchanges of no great
moment, Langham slipping down from his own hit.
3.—​Orme stopped Langham’s left neatly (applause);
counters with left, Langham’s straightest, but did not seem
much to mark Orme’s cast-iron nob. Orme bored in, pegging
away; Langham propped him, but dropped when forced to
the ropes.
4.—​Orme made several feints, Langham shifted and
laughed; Langham tried to draw his man, but the latter,
advised by Welsh, pointed to the scratch. Langham tried his
left, but Orme was with him, and, after some heavy weaving
work, Langham fell because it suited him.
5.—​Sparring; Langham cautious but lively. Orme had found
that he got pepper whenever he attempted to lead off, and he
paused awhile. There was some little chaff about each man
having something in his hands, and they were shown to be
empty. The mill recommenced by Langham rattling in one,
two, catching Orme on the nose and ribs; in the scramble
Langham was down.
6.—​Nat visited Orme’s left eye a stinger, raising a “mouse.”
Orme rushed in and delivered with tremendous half-arm
energy; Langham fought up and was bored down.
7.—​Orme rolled in, letting go both hands; Nat nobbed him,
but Orme forced the fun, and ran Langham to earth.
8.—​Orme had got terribly disfigured by Langham’s
retreating shots, but they did not seem to impair his strength
or resolution; he hit Langham heavily on the ribs in the rally,
but got one, straight as an arrow, in the nose from Langham’s
left; it was a smasher, and was followed by a lunge from the
right, as he was already on the stagger, and down he went on
his south pole. (First knock-down far Langham. Great
cheering.)
9.—​Orme came up more steady than was expected; he
hemmed and coughed several times, as if troubled in the
throat, but played about, waiting for Langham to begin.
Langham led off, and made his left, but Orme dashed in
desperately, and both were down in the rally. (6 to 4 on
Langham.)
10.—​Langham propped Orme on the nose; Orme hit rather
out of distance, and Langham slipped down.
 11.—​Rapid exchanges. Langham made his straight left
sharply on Orme’s right eye, raising a “mouse” to match the
left. Orme got Langham in his arms, and, after a brief
struggle, held him by the crook, forced him over, and threw
him from his hip on his neck and head, lending his whole
weight to the impetus of his fall. Langham, apparently
stupefied, was picked up, all abroad, by Jem Turner and
Hannan. (Cries of “It’s all over!”)
12.—​Langham came up loose in the knees and puzzled,
but he had not lost his style. Orme could not get on to him,
and he fell on the saving suit.
13.—​(“Time.”) Langham fought prettily on the defensive,
but was in evident distress; indeed, he never entirely shook
off effects of the throw in the previous round throughout the
fight. Orme hit him in the body, but he was getting down
when he received the blow.
14, 15, 16.—​Langham still merely defensive but the last a
good fighting round.
17 to 20.—​Heavy work; both rather wild. Langham
generally finished the rounds by getting to grass. (Offers of 3
to 2 on Orme.)
21.—​Punishing exchanges. Nat getting steadier; Orme
gave way a little after a job or two from Langham’s left.
Langham followed him. After some hard fighting Orme threw
Langham.
22.—​(A claim on account of Orme having some substance
in his hand; it was disproved.) Ding-dong work, and Langham
down in the hitting.
23.—​Orme pursued Langham, determined not to allow him
to recover his wind; hard, but rather wild hitting, during
which Orme getting close, sent Langham down.
 24.—​Nat missed his left, Orme stepping back; Orme put
out his tongue. Exchanges, and Langham fell.
25.—​Langham hit Orme several times as he came in, but
could not stop himself from being bored down.
26.—​Langham tried his left twice, but was not near enough
to his man. Orme let go his left, and Langham dropped. (An
appeal from Orme on the plea that Langham dropped without
a blow.)
27.—​Heavy counters; Orme on Langham’s jowl; Langham
on Orme’s eye, which was nearly shut up. A rattling round.
Nat got on Orme’s best eye (the right), then on his note.
Orme hammered away, but was short of distance, except
when in-fighting; a close, and Langham under. (One hour.)
28, 29.—​Exchanges; Langham precise, and timing his hits,
got Orme to a standstill. When Orme came on again Langham
fell. (Another claim.)
30, 31.—​As before, Langham slipped down in the hitting.
(A claim each round for Orme.)
32.—​Orme wild and rushing; Langham steadied himself,
and propped him severely. Langham fell at the ropes, Orme
over him.
33, 34.—​Langham delivered and fell from his own blows.
35.—​Hard hitting; Orme would not be denied; Langham
got down at the ropes, and Orme, bending his knee, tried to
drop on him. (An appeal from Langham’s party, but
overruled.)
36 to 40.—​Nat nailed Orme dexterously, swelling his lips till
he resembled the portrait of the elder Molyneaux. In the 40th
round he got him to a standstill for a few seconds. (“Where’s
your 2 to 1 now?”) Langham fought cunningly, and got
through the ropes, down.
41.—​Orme’s eye closed; he rushed at Langham, who
dropped, and Orme was again charged with trying to “knee”
him.
42.—​Exchanges; Langham made his left prettily, but Orme
gave him such a sneezer that he dropped.
43.—​Langham game and clever, but weak. (80 minutes
had elapsed.) In the struggle at the close Langham was
undermost; a nasty back fall.
44.—​Some sharp work, the men falling from their own hits,
reaching the ground at the same time.
45 to 60.—​It was wonderful to see how, round after round,
such fighting could be kept up, Langham still holding the
palm for generalship, straight hitting, and precision, but
wanting strength from repeated falls. In the 60th round he
fell weak. In the 64th, both men were again down in the
hitting. From the 65th to the 100th round, time after time, did
the men come up with fluctuating chances, the changes every
three or four rounds being truly surprising. First Langham got
so shaky that every round seemed his last; then Orme got
such straight props from the shoulder, in return for his
attempts to “go in and finish,” that it seemed a pity both
could not win; several times he stood still, puzzled, but
scorned to go down, while Langham could not get up steam
enough to seize the advantage and secure victory. Orme was
twice appealed against, on the ground that he lifted his foot
when Langham was down. We do not think he either knew or
intended to do what he did. Langham, too, was appealed
against for going down, but the veteran referee would not
have the battle snatched from such good men by a quibble.
In the 100th round, 2 hours and 34 minutes having expired,
Orme, on being carried to his corner, communicated to his
seconds that he would fight no more; when the practised eye
of Welsh perceiving that Langham’s head had dropped on
Turner’s shoulder, he revived his man by the information that
his opponent had “cut it.” Orme went up, but was not allowed
to have it for asking. Langham showed, and pecked away like
a game cock, though there was no power in his blows.
102 to 108.—​Short rounds, as they well might be.
Langham got a turn in his favour, for he hit Orme in the last-
mentioned round, and his head dropped when picked up.
109.—​Orme recovered quicker than could be expected, and
again perceived that his opponent’s plight was no better than
his own: he staggered in, punched away, and Langham fell.
110 to 113.—​Orme very much abroad, but still the
stronger. Langham fell in the 113th round on the ropes, and
Orme upon him.
114, 115.—​Both game as pebbles; Orme quite foggy in the
optics; Langham staggering, and instinctively putting out his
left for a pushing hit. (“Take them both away,” said a
bystander. Orme shook his head, and Langham tried to
muster the ghost of a smile.) The seconds went close to their
men. “It’s all right,” said poor Langham to Jem Turner. If he
thought so no one else did. After a slight pop with his left,
Orme pushed Langham down, and fell over him.
116.—​Orme on his knees, and Langham down anyhow, in
a weak rally.
117th and last.—​Langham sent out his left; Orme stepped
back; Langham again hit out. He evidently did not perceive
what was before him, and coming forward, from his own
blow, fell on both knees and his hands. His seconds ran up to
him, but it was all over. Orme stood in his corner for a few
seconds, when time was called, to which the Leicester man
 was yet deaf, walked slowly across the ring, and taking the
hand of his brave, fallen adversary, tried to muster an
expression of admiration at his bravery. The sponge had
before gone up from Langham’s corner, and thus, at the close
of two hours and forty-six minutes, was brought to a decision
one of the gamest battles the modern annals of the Ring can
boast.

The shades of evening were closing in as the

voyagers got on board their respective steamers,
many more, as is usual on such occasions, extending
their patronage to the “men’s” peculiar boat on the
upward voyage than came down by that conveyance;
for the very obvious reason that as the voyage both
ways was paid at starting, the disagreeable
ceremony of paying would be insisted on, while
having once got down by a Gravesender, tug, or
other cheap conveyance, the homeward-bound
voyage could be effected gratis. It was nearly
midnight when the “Queen of the Thames,” working
against tide and a head wind, reached London
Bridge; the voyage being shortened by many an
anecdote of brave battles in bygone days, with which
all agreed the present mill might well bear a
comparison.
Orme now rested for a year upon his well-earned
laurels, when once again Aaron Jones, who during
the interval of two years had, so rumour averred,
wonderfully developed and immensely improved in
the art, sought to reverse the verdict given against
him in December, 1849. Aaron had, moreover, in the
interim fought Bob Wade (the Dover Champion), a
12st. man, whom he defeated at Edenbridge, Kent,
in one hour, in which forty-three punishing rounds
were contested.
Monday, May 10th, 1852, was the fixture, instead
of the customary Tuesday; the moving reason
thereto being that the Turfites, among whom were
Jones’s prominent patrons, might attend another
“ring” at Newmarket on the latter day. On Jones’s
improvement the Sporting Oracle thus delivered
itself: “When Jones first contended with Orme he
was a youth of eighteen, weighing 11st. 2lbs., and
too young to bear the wear and tear of a long
encounter. He has now increased in height and
weight, stands 6 feet in height, and will draw a trifle
over 12st., besides having materially improved in the
pugilistic art.” At the last deposit of £10 a side,
making up the stakes to £200, which took place on
Tuesday last at Mr. Prior’s, “Nag’s Head,” South
Audley Street, Jones had the call in the betting, his
friends being West-enders and ready to back their
own “stable.” As the rendezvous was in the vicinity of
Newmarket, and a trip per Eastern Counties rail the
mode of reaching the field of arms, we were glad, on
presenting ourselves at the Shoreditch terminus at
eight o’clock, to see at “the meet,” not only a large
number of the Corinthian patrons of the Ring, whose
faces we have for some time missed from such
gatherings, but many of the ex-professors of the art
—​Owen Swift, Adams, Jem Burn, Shaw, Dan Pinxton,
Jemmy Gardner, Alec Keene, Harry Milbourn, &c., &c.
At a little before eight Jones arrived at the station,
accompanied by the lively Bob Fuller and Alec Keene;
the former being his trainer and the twain his
selected seconds for the fistic duello. Jones looked
remarkably bright and well, indeed, as Bob
expressed it, he was “as fit as a fiddle,” and “would
take a great deal of beating.” Orme did not put in an
appearance at Shoreditch, but it was quickly made
known that he had departed overnight for the
neighbourhood of Newmarket, where he was
awaiting the arrival of the “London particulars.” At a
few minutes past eight the whistle sounded, and off
we went, understanding that Chesterford, where we
were told Orme awaited us, was our calling-place,
and thence we should be conveyed to Mildenhall.
This was a judicious ruse, but, as we shall presently
see, failed in the trial. On arriving at Chesterford,
however, our steam-steed merely took a drink of
water, and sped on its way to Six Mile Bottom, on the
Newmarket line. We must confess that we were a
little staggered, knowing what we did of the
Cambridge authorities, that the “managers” should
have chosen their ground within that shire, and we
argued that as one of the men had been training
near the racing metropolis the watchful blues had
doubtless an eye upon his movements.
On mentioning our misgivings, however, to some
of the parties concerned, and expressing our surprise
that so hazardous an attempt should be made, we
were assured that it was all right, that there were no
magistrates within call, and that the fight was certain
to be settled without interruption. While waiting for
the arrival of Orme, our fears for the result were
verified to the fullest extent by the appearance of a
body of Cambridge police, both horse and foot,
evidently determined to spoil sport. It was now
determined to go on to Newmarket at once to fetch
Orme, who had prudently retreated into the town on
finding that the enemy was in the field. At
Newmarket it was stated that he had chartered a fly,
and was about to proceed across country to
Mildenhall. A despatch was instantly sent to recall
him, and, after a delay of about half an hour, he
made his appearance, looking big, brown, hardy, and
confident. He immediately took his place in the train,
and an inhabitant of the district having intimated that
he knew a spot where there was no chance of
interruption, consented to act as pilot, the train was
once more put in motion, and taking its course up
the old Newmarket line, which was at that time
closed for general traffic, was brought to a standstill
by the side of a field at Bourne Bridge, a place
rendered memorable as the scene of the first contest
between Mr. Gully and Gregson, in days long
vanished, passed away. Here a debarkation was
effected, and when all the voyageurs by train were
collected there were certainly not more than two
hundred persons present. These, by the time the
ropes and stakes were pitched, were increased by
the arrival of some dozen equestrians from
Cambridge and Newmarket, anxious, no doubt, to
enjoy a treat so seldom witnessed by the inhabitants
of those celebrated universities for the education of
man and horse; but, as will be shortly seen, their
arrival on horseback defeated the object they had in
view, as it served to put the blues upon the scent,
and enabled them, before much business had been
got through, again to put in their unwelcome
appearance, and once more to send the “peace
breakers” to the right about.
On the recommendation of “the pilot” the
business of constructing the arena was set about
with unusual celerity by young Fred Oliver and the
veteran Tom Callas, under the superintendence of
the ancient Commissary himself, and by a few
minutes past one o’clock all was in readiness. A
capital outer ring was formed, round which the
“cheapsiders” took their stations, while comfortable
straw hassocks were provided for the tenants of the
inner circle who chose to pay the price demanded by
those who had been so thoughtful as to provide such
luxuries. Jem Burn, whose hind feet and legs were
not sufficiently under his command to enable him to
take up a position so close to mother-earth, was
accommodated with a chair, around which were
grouped several of his ancient patrons, and all
appeared now to be satisfied that at length fortune
was favourable, and that the mill would be brought
to a conclusion without let or hindrance. Umpires and
a referee were quickly chosen, and the men at once
proceeded to their toilettes, Jones, as we have
already stated, being waited on by Bob Fuller and
Alec Keene, while Orme had for valets Jemmy Welsh
and a “Jolly Butcher” from Southwark. On stripping,
Jones confirmed the opinion we had formed in the
morning, that he was as “fine as a star,” and as fit as
Fuller could make him. Orme, on denuding himself of
his outer rind, looked big enough and strong enough
for anything. His skin, of a nut-brown tint, gave him
altogether an appearance of hardihood which lead a
spectator to infer that he was an adversary by no
means to be sneezed at, even by those who
considered themselves his superiors in the fistic art.
It was clear, nevertheless, that he had not devoted
quite as much time to his preparation as the nature
of the encounter he had undertaken would have
justified. There were indications of loose flesh about
his ribs and chest which might have been well
dispensed with. On inquiring his weight we were
informed that he was about 11st. 8lb., being just 4lb.
more than when he encountered Langham.
Notwithstanding this exuberance of meat he looked
remarkably well, was extremely confident, and
“eager for th’ affray.” All being at length in readiness,
the colours (blue for Orme, and yellow with blue
border for Jones) were nailed to the mast—​we mean,
tied to the stake. Orme laid his adversary a bet of
£25 to £20, which was duly posted. The men and
their seconds shook hands—​silence was proclaimed—​
“Time” was called (half-past one)—​the seconds
retired to their corners, and left the men at the
scratch to commence
THE FIGHT.
Round 1.—​On throwing themselves into attitude, which, as
the dandies say, “is everything,” there was no very great
display of artistic skill on either side. If anything, Jones’s
position was the more graceful of the two; still he left his ribs
totally unprotected, and held his hands much too far from his
body to please our mind. Orme, on the contrary, held his
arms, which loomed large and ponderous, closer to his
corpus. He stood almost square, his thick, muscular legs
seeming well calculated to support his enormous round
shoulders, which resembled those of a miniature Atlas. Jones,
after a dodge or two, feinted with his left, but Orme grinned
and stepped back; Jones followed him up, when Orme
stopped his further progress with a prop from his right on the
side of the head. Counter-hits with the left followed without
any mischief. Orme then swung round his right as if it was a
sledgehammer, and caught Jones with tremendous force on
the ribs under the left arm, in the region of the heart, where
he left most unmistakable imprints of his knuckles, which
never disappeared during the remainder of the battle. Jones
returned slightly on the right ear, which led to a rally, in which
Orme had the best of the hitting, again delivering a rib-
bender with his right, removing the bark from Jones’s smeller,
and drawing first blood with his left. A close, in which Orme
held his man tight, and fibbed him on the nose and forehead
until both were down in Jones’s corner.
2.—​Jones led off with his left, reaching Orme’s cheek, and
cleverly stopping the return. Counter-hits followed, Jones
drawing claret from Orme’s mouth, catching it in return
heavily on the cheek and chin. Some slogging hits were
exchanged without any regard to science, and Jones at length
slipped down.
3.—​Jones again led off with his left, but was very wild in
his deliveries, which passed over Orme’s shoulder. Had he
been more precise his blows would have told a tale, for Orme
appeared to think that “stopping” was quite beneath him.
Orme went in, pegged away left and right on the left eye and
ribs, and Jones fell.
4.—​Jones on coming up displayed the marks of Orme’s
handiwork in the last round in the shape of a mouse on his
left eye. He appeared loth to come out of his corner,
whereupon Orme went to him. Jones retreated as far as he
could, and delivered his left as Orme came in. Orme “stopped
the blow” with his left cheek, returned the compliment with
interest by two heavy cracks on Jones’s injured peeper and
his forehead, when Jones got down.
5.—​Orme commenced business by rushing in and planting
his left and right heavily on Jones’s mouth and nose, drawing
more claret. Jones returned slightly on the left cheek and
slipped down just as Orme was about to effect a delivery. He
looked up as if anticipating a foul, but Orme restrained
himself, grinned, shook his head, patted Jones on the back of
his poll, and walked to his corner.
6.—​Jones led off with his left, catching Orme on the
potato-trap. Orme countered him on the nose heavily,
stepped back again, went in, repeated the dose on Jones’s
nose and his left eye, and the latter was again down.
7.—​Jones came up much flushed, bleeding from the nose
and left eye. His forehead was swelled, and altogether it was
evident that Orme’s visitations had not been without their
effect. The only mark Orme showed was a swelling under his
left eye. Orme led off, caught Jones another rattler on the
damaged ogle, drawing more of the ruby. Jones wild, dashed
in, planted a heavy blow on Orme’s left cheek, and fell on his
latter end from the force of his own blow.
8.—​Jones stopped Orme’s left neatly, and tried a return
which was short. A rally followed, in which Jones’s deliveries
were mostly thrown away, inasmuch as they passed over
Orme’s shoulder. Orme, whose punches, although very round,
in general got home, again planted on Jones’s left eye and
nose. At length Jones got one on Orme’s left peeper, drawing
blood, and then slipped down.
9.—​Jones came up bleeding, and looking much the worse
for wear, while Orme was all confidence. Jones led off with his
 left, got home slightly on Orme’s smeller, when suddenly was
heard the unwelcome watchword of “Police”—​and sure
enough, on looking round we perceived a detachment of
neatly attired Cambridge “Peelers” making their way to the
field of action. A cry of sauve qui peut was instantly raised,
and the ground was cleared in a trice, every one making for
the train and jumping into the first carriage that he could find
open. It was soon discovered, however, that the object of the
“powers that be” was not to apprehend any of the
wrongdoers, but merely to prevent a breach of the peace in
the county of Cambridge.

A council of war was called; the referee, whose

duty it was to name the next time and place, if
possible on the same day, suggested that there was
yet time to go to Mildenhall, where he knew the
matter could be concluded in peace. The officials,
however, connected with the railway, said that,
inasmuch as the train would have to return up the
old Newmarket line, and then go round by
Cambridge, where it would be detained so as not to
interfere with the general traffic, it was very probable
that Mildenhall could not be reached in time to finish
the business in hand before dark. It was then hinted
by “the pilot” that the affair might be completed in
the neighbourhood of Newmarket, that town being in
the county of Suffolk, and out of the jurisdiction of
the Cambridgeshire authorities. The plan appeared
feasible, and “bock agin” to Newmarket was the
order of the day. The pilot conducted the
Commissary and assistants to a likely piece of turf
behind the plantation of firs at the top of the
training-ground, not much more than a mile from the
town, and here a second ring was formed with all
due diligence, and here, of course, the crowd of
spectators was largely increased by detachments of
lovers of the sport from the town itself and the
surrounding districts. At twenty-two minutes after
three, all being for the second time in readiness, in
the midst of a shower of rain, round nine was
resumed.
THE FIGHT RESUMED.
Round 9 continued.—​On the men throwing off their
blankets both looked rather the worse for wear, Jones having
a most unmistakable black eye, and the bark being off his
frontispiece in several places. The marks also of Orme’s
hammerings on his ribs were very apparent. Orme displayed a
slight swelling and discolouration under his left eye, and an
enlargement of his upper lip. Both seemed fresher from the
rest they had taken, and appeared anxious now to finish the
fight out of hand. Jones led off twice, but was short. Orme
then delivered a spank on his left eye. Jones returned rather
heavily on the nose and slipped down.
10.—​Orme led off, planted his right again heavily on the
ribs. Jones, after one or two wild plunges over his adversary’s
shoulder, succeeded in reaching his damaged cheek, and
slipped down.
11.—​Jones again led off twice with his left, but in both
instances the blows fell short; Orme then went to his man,
slight taps were exchanged, after which Orme popped in a
nasty one on the nose, and slipped down.
12.—​Orme rushed in to fight, but Jones stepped back,
caught him heavily on the left ear and left eye, drawing claret
from the latter; Orme tried to return, but Jones got down
cunning.
13.—​Orme on coming to the scratch showed that Jones’s
last two hits had not been without their effect; his left ogle
began to show symptoms of shutting up shop, while his left
ear was considerably discoloured. Jones led off, delivered his
left and right on Orme’s injured optic and his ear, stopped
Orme’s returns cleverly, and slipped down.
14.—​Orme rushed in in a determined manner, but was
again stopped. Jones stepped back, delivered his right on
Orme’s left ear heavily; Orme would not be stalled off, but
again bored in, when Jones slipped down.
15.—​Jones led off, but the blow passed harmless over
Orme’s head; good counter-hits followed, Orme delivering on
Jones’s nose, and receiving a heavy visitation on his right
peeper. Jones then received a one-two on the nose and ribs,
when both got down together, and, after a slight scramble,
were down side by side.
16.—​Jones was again short in his deliveries, when Orme
closed, and both were again down, no mischief being done.
17.—​Both rattled in to their work, and some sharp
exchanges took place, in which Jack was as good as his
master. Orme then caught Jones round the neck, fibbed him
heavily in the mouth and nose, and after a short struggle
threw him heavily, and fell upon him.
18.—​Jones, led off, his arm passing over his adversary’s
head. He was more lucky in a second attempt, reaching
Orme’s left ogle heavily. Some rattling exchanges followed,
left and right, Jones catching it on the ribs and left eye, while
he got home heavily on Orme’s ear, mouth, and left cheek.
Orme bored in, planted his one-two on Jones’s nose and
mouth, and was trying to improve his advantage when Jones
slipped down cunning.
19.—​Jones first to fight, Orme appearing to blow from
want of condition. Jones got home again on the left ear and
nose; Orme returned slightly, but his hits now appeared to
lack steam. Jones in this round rattled away in style, had all
the best of the hitting, but in the end Orme counterbalanced
these advantages by closing and throwing him a cross
buttock, and falling heavily on him.
20.—​Jones led off, but was met by Orme with a sharp
counter-hit, each reached his adversary’s left eye, after which
Jones immediately got down. He had evidently been much
shaken by the fall in the previous round.
21.—​Orme attempted to take the lead, but was short;
Jones delivered a heavy right-hander on the left ear; counter-
hits followed, Orme reaching Jones’s left eye heavily, and
received on the nose. Jones finished the round by delivering a
spank on Orme’s right eye and getting down.
22.—​Jones came up, bleeding from his left eye. Orme
opened the ball by repeating the dose on the same optic, and
drawing a fresh supply of the ruby. He attempted to do ditto
ditto, but was cleverly stopped by Jones. Counter-hits
followed, Orme succeeding in again planting upon the nearly
closed eye of his adversary, who delivered on the left cheek
and left ear and then got down.
23.—​Jones attempted to take the lead, but was wofully
short. Orme went to him, delivered his left and right heavily,
received a slight tap in return, and Jones fell.
 It was now forty minutes past three, and before
time could be called for the next round, “police!” was
again the cry of the multitude—​a cry which, as at the
first ring, proved to be only too true. Several
individuals, clad in blue array, connected with the
Suffolk constabulary, forced their way to the arena,
and ordered the combatants to desist in the Queen’s
name. A fly was close to the spot, and in this both
men and their seconds quickly ensconced
themselves. The stakes were once more drawn, and
all repaired to the railway station, to once more
ponder upon the reverses of a day which had
dawned with every prospect of a successful
expedition. The backers of the men applied to the
referee to know his decision, and that functionary,
after considering the circumstances of the case,
decided that there must be another meeting, and,
having taken council with the pilot, the excursionists
once more re-entered the train, the pilot and a
backer of Orme taking their station on the tender,
the former undertaking to direct the engine driver to
a spot where it was thought a satisfactory last act
might be appended to the two which had already
been performed. The train once more flew past Six
Mile Bottom, where the blue-coated fraternity were
still observable on the qui vive, to prevent a second
invasion of their bailiwick. The old Newmarket line
was a second time traversed for some miles, and at
length the pilot gave orders to “heave to” at a field
of clover, about two miles on the Newmarket side of
Chesterford. And now comes the unpleasant part of
our narrative. On the referee leaving the train, he
was asked by some of Jones’s backers why the train
had stopped, as they understood he had decided
that the fight was to be postponed until another day.
The referee stated that he had given no decision of
the kind; the articles specified that in case of
magisterial interference the referee was to name the
next time and place, if possible on the same day. He
had named a place (having directed the engine
driver under the orders of “the pilot” to go where
there was a probability of a satisfactory conclusion);
that place had been reached, there was plenty of
daylight, he saw no excuse for postponing the battle
to a future day, and he had no alternative but to
order the men to fight. Jones’s friends replied that
Orme’s principal backer had told them when the
police arrived at the second ring that there would be
no more fight that day, but that he should take his
man back to London at once. They had therefore
given Jones oranges to eat, and brandy-and-water to
drink, and had, moreover, been smoking in the same
carriage with him. The referee stated that this, if it
was the case, was highly reprehensible on their part;
Orme’s backers had no power to decide whether the
fight was to be resumed or not; that was
discretionary on his (the referee’s) part. He had
stated to one or two of Jones’s friends what his
intentions were, and if there had been any doubt
upon the point, the least that could have been done
by his seconds and attendants would have been to
ask the question before they allowed their man to
commit the excesses they alluded to. It was then
urged by Jones’s backers that it would be a cruel
thing to order the men to fight again after being
twice stripped and twice disturbed. The referee said
that might or might not be the case; his duty,
according to the articles, was imperative. The men
must fight, unless they chose mutually to agree to a
postponement, when of course he could have no
objection. Orme and his friends would not hear of an
adjournment, and wished to have the matter decided
at once. Jones’s backers then became very excited,
and one of them applied language to the referee
which was utterly unjustifiable, and that gentleman
said he would have nothing more to do with the
matter, and that he would resign his office as
referee. After a lengthened argument pro and con,
however, the referee, seeing that if he resigned his
office the friends of Jones would attain the object
they evidently had in view—​namely, to save any bets
they might have upon the fight, by refusing to agree
to any other referee, and thus procuring an
adjournment—​consented to leave the railway
carriage into which he had retired. He was again
begged by Jones’s friends to adjourn the fight, but
again repeated his decision that they must make
another attempt on that day to bring the affair to an
issue. Jones and Co. appeared still reluctant to renew
the encounter, whereupon the referee stated that he
would give them half an hour, and if Jones was not in
the ring ready to fight by that time he would award
the stakes to Orme. Orme went to the ring, which
had already been formed, whither he was followed,
after a short delay, by Jones and his seconds. Jones,
whose left eye was completely closed, and who
showed other symptoms of severe chastisement,
pulled off his trousers and coat, and was about to
denude himself of his other clothing, when suddenly
he appeared to change his mind; he whispered to
one of his seconds that it was “No use his fighting
any more, as he was sure to be licked.” He then
resumed his extra toggery and went to the referee,
to whom he stated that he would not fight again
unless another referee was chosen, as he had
resigned his office. The referee replied that his
resignation was only threatened, and was not
consummated, inasmuch as it had not been accepted
by the parties concerned, who had asked him (after
he had said that he would resign) to adjourn the
fight to another day, and had thus acknowledged his
authority. He was not disposed now to give up that
authority, and thus deprive Orme of any chance he
might have of finishing the battle that night. He did
not consider that either man was licked, or that there
was any great advantage on either side in point of
punishment; there were still two hours of daylight.
As he had said before, he could see no ground for a
postponement, and fight they must, or he would
certainly award the battle in favour of Orme. Jones
still persisted in his refusal to fight, and at length left
the ring, repeating the observation, that if he fought
again he knew he should be licked. He did not leave
the arena, however, without hearing sundry
complimentary speeches from the spectators upon
the courage (?) he displayed in refusing to finish the
battle in a manly, upright manner, and without
resorting to any petty subterfuges to obtain an
adjournment. Amongst others who commented in
strong terms upon his behaviour was Jemmy Massey,
who was backing him, and who has shown himself a
pretty good judge of the quantity of punishment a
man can take without being licked; Jemmy strongly
advised Jones to at once leave the ring, acknowledge
that he was afraid of Orme, and thus end the matter.
The referee waited the promised half-hour, at the
end of which time, finding that Jones still declined
the contest, he awarded the victory to Orme, to
whom he at once handed the sum of £45, being the
bet of £25 to £20 which had been laid prior to the
commencement of the fight. The battle lasted 15
minutes at Bourne Bridge, and 18 minutes at
Newmarket—​total 33 minutes.
Remarks.—​Few remarks are called for upon the style
displayed by either of the combatants in this most
unsatisfactory affair. Orme displayed all that fearless
determination to do or die which has characterised his former
encounters, but we could not perceive any improvement in
his scientific acquirements since his battle with Nat Langham
last year. His principal notion of stopping seemed to be with
his head, which consequently received many sharp visitations
from Jones’s wild deliveries, which a very little care would
have enabled him entirely to escape. The art of getting away
seemed to be one to the study of which he has paid very little
attention. His game evidently is “nothing venture, nothing
gain,” and he acted up to this to the fullest extent.
Notwithstanding his want of skilful direction of his undoubted
powers, Orme is a dangerous customer to any one at all near
his weight. He is a very hard hitter, an extremely powerful
and determined man, of indomitable courage, and, although
his powers as a receiver were not severely tested on the
present occasion, still, it is known that in his fight with
Langham he showed that his qualities as a glutton are of the
highest order. He is, moreover, possessed of an excellent
temper, which enables him to control himself under
circumstances which are calculated sometimes to “ruffle the
feathers” of the coolest combatant. As to Jones, in whom we
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