NICAR 2015: Space Journalism and Remote Sensing

Some of the coolest investigations that have been published over the last year have made use of remotely sensed data from satellites in space. Space is cool. And journalism is cool. So surely the combination of the two must be interesting. And while it didn’t involve firing rockets with journalists on them into orbit, a session at #NICAR15 titled “Space Journalism” introduced some really cool ideas about using satellite data to find and tell stories.

Brian Jacobs and Al Shaw spoke about their Losing Ground project, which analyzed land loss along the Louisiana coast using satellite imagery. They explained that picking which satellites and which images to use for a story isn’t just an aesthetic decision but an editorial decision that can implicate how you tell your story.

Unlike a typical photograph, there are three aspects to the resolution of a satellite image. Spatial resolution is a measurement of how many square meters are represented in a pixel, which affects how much detail you can get in a picture. The second aspect is temporal resolution, which has to do with how often a certain satellite images a certain patch of land. The third is spectral resolution has to do with the wavelengths of light—for example, infrared or visible light—the sensors on the satellite can identify. For example, Band 5 on Landsat 8 images waves between 0.85 - 0.88 micrometers, which is in the near infrared spectrum.

Brian introduced free tools like Earth Explorer—there’s also a command line tool `landsat-util—to find the images you are looking for. But sometimes that data isn’t good enough, and that’s when things get more complicated. They also talked about their semi-successful efforts to use balloons to capture recent data. Here’s how they explain it in a blog post:

Getting high temporal, spatial and spectral resolution isn’t easy to do if you don’t have deep pockets. A single 10-square-mile multispectral georeferenced image from Digital Globe taken recently was expensive. We purchased two of these, including one for Bay Denesse, another area we wanted to feature in “Louisiana’s Moon Shot.”


But it seems that unless you are doing super high resolution images, Landsat is the best bet for getting good imagery.

Landsat bands

Landsat is the longest running program for taking satellite imagery of Earth (the most recent spacecraft in the program, Landsat 8, was launched in 2013). It takes images in eleven different bands of light. Combining different layers in different combinations creates different images and highlights different aspects of the data. For example, a 4–3–2 combination creates a natural color image (4 being red, 3 being green, and 2 being blue). But as Al Shaw explained, for Losing Ground, that didn’t create enough contrast between muddy water and the land, making it difficult to see the changing coast. So they tried a 7–5–3 layer scheme, which combined shortwave infrared, near infrared, and visible green light; this was good for contrasting the land with the water, but also made the land look an unnatural bright green. Al explained how they used a 4–3–2 layer scheme with a 5 mask on top to recolor the image to match our expectations of how the Earth should look while also highlighting the ocean with the infrared band.. Check out this document to see how this iteration so that they could highlight the data they wanted to. They also discussed this in the presentation, which can be found here as well

Also of interest to those looking into telling stories using satellite data was the live release of schooner-tk during the Lightning Talks. schooner-tk is a tool ProPublica made for manipulating satellite imagery right from the command line: it can stitch images together, create cloudless composites, and even balance the color profile of different datasets. With one line of code using schooner-contrast you can boost the contrast of your images, like this:

One of the key takeaways is that satellites don’t just take pictures, they capture data. Lots of it. And working with satellites requires thinking about the final result as both a photograph and as a set of data.

About the author

Alex Duner

Student Fellow

Latest Posts

  • Building a Community for VR and AR Storytelling

    In 2016 we founded the Device Lab to provide a hub for the exploration of AR/VR storytelling on campus. In addition to providing access to these technologies for Medill and the wider Northwestern community, we’ve also pursued a wide variety of research and experimental content development projects. We’ve built WebVR timelines of feminist history and looked into the inner workings of ambisonic audio. We’ve built virtual coral reefs and prototyped an AR experience setting interviews...

    Continue Reading

  • A Brief Introduction to NewsgamesCan video games be used to tell the news?

    When the Financial Times released The Uber Game in 2017, the game immediately gained widespread popularity with more than 360,000 visits, rising up the ranks as the paper’s most popular interactive piece of the year. David Blood, the game’s lead developer, said that the average time spent on the page was about 20 minutes, which was substantially longer than what most Financial Times interactives tend to receive, according to Blood. The Uber Game was so successful that the Financial...

    Continue Reading

  • With the 25th CAR Conference upon us, let’s recall the first oneWhen the Web was young, data journalism pioneers gathered in Raleigh

    For a few days in October 1993, if you were interested in journalism and technology, Raleigh, North Carolina was the place you had to be. The first Computer-Assisted Reporting Conference offered by Investigative Reporters & Editors brought more than 400 journalists to Raleigh for 3½ days of panels, demos and hands-on lessons in how to use computers to find stories in data. That seminal event will be commemorated this week at the 25th CAR Conference, which...

    Continue Reading

  • Prototyping Augmented Reality

    Something that really frustrates me is that, while I’m excited about the potential AR has for storytelling, I don’t feel like I have really great AR experiences that I can point people to. We know that AR is great for taking a selfie with a Pikachu and it’s pretty good at measuring spaces (as long as your room is really well lit and your phone is fully charged) but beyond that, we’re really still figuring...

    Continue Reading

  • Capturing the Soundfield: Recording Ambisonics for VR

    When building experiences in virtual reality we’re confronted with the challenge of mimicking how sounds hit us in the real world from all directions. One useful tool for us to attempt this mimicry is called a soundfield microphone. We tested one of these microphones to explore how audio plays into building immersive experiences for virtual reality. Approaching ambisonics with the soundfield microphone has become popular in development for VR particularly for 360 videos. With it,...

    Continue Reading

  • Audience Engagement and Onboarding with Hearken Auditing the News Resurrecting History for VR Civic Engagement with City Bureau Automated Fact Checking Conversational Interface for News Creative Co-Author Crowdsourcing for Journalism Environmental Reporting with Sensors Augmented Reality Visualizations Exploring Data Visualization in VR Fact Flow Storytelling with GIFs Historical Census Data Information Spaces in AR/VR Contrasting Forms Of Interactive 3D Storytelling Interactive Audio Juxtapose Legislator Tracker Storytelling with Augmented Reality Music Magazine Navigating Virtual Reality Open Data Reporter Oscillations Personalize My Story Photo Bingo Photojournalism in 3D for VR and Beyond Podcast Discoverability Privacy Mirror Projection Mapping ProPublica Illinois Rethinking Election Coverage SensorGrid API and Dashboard Sidebar Smarter News Exploring Software Defined Radio Story for You Storyline: Charts that tell stories. Storytelling Layers on 360 Video Talking to Data Visual Recipes Watch Me Work Writing and Designing for Chatbots
  • Prototyping Spatial Audio for Movement Art

    One of Oscillations’ technical goals for this quarter’s Knight Lab Studio class was an exploration of spatial audio. Spatial audio is sound that exists in three dimensions. It is a perfect complement to 360 video, because sound sources can be localized to certain parts of the video. Oscillations is especially interested in using spatial audio to enhance the neuroscientific principles of audiovisual synchrony that they aim to emphasize in their productions. Existing work in spatial......

    Continue Reading

Storytelling Tools

We build easy-to-use tools that can help you tell better stories.

View More