To see something clearly, sometimes you need to change your perspective. Think out of the box. Turn the problem on its side. When you start to look at things differently, you sometimes start noticing things you couldn't see before.

A lot of times, the real challenge is figuring out just how to get that different perspective. It might be as simple as taking a walk and coming back to the problem when your mind is clear. But often, the best thing to do is to step back, look more broadly, and try to get a "big picture" view of the problem.

Satellites in orbit around the Earth do this all the time - they "step back" by hundreds of miles to provide a unique perspective on our planet. Today, a number of different commercial satellites are in operation around the Earth, each providing information used in applications as diverse as urban planning, mapping for natural resources, or evacuation planning and disaster response.

And that doesn't even count the really cool pictures you can call up on your computer in Google Maps - that really provides a different perspective on things.

Earlier this month, the latest of these commercial satellites - DigitalGlobe's WorldView-2 - was successfully launched into Earth orbit. The capabilities of this satellite are pretty spectacular - from 770 km (about 500 miles) above the earth, it can capture images with a resolution of up to 50 cm (about 1.5 feet) over an area almost 1 million square km each day (which is a pretty big number, given that the entire surface of the earth is only around 150 million square km). Its orbit will also allow the satellite to revisit any location on the Earth's surface typically in just over 1 day, allowing for quick, high resolution updates of rapidly changing conditions on the surface.

As you might imagine, the entire process to design and launch a satellite is pretty complicated, involving sub-contractors who each specialize on different parts of the entire project. For the imaging system on WorldView-2 - the "eyes" of the entire satellite - DigitalGlobe worked with the Space Systems Division of ITT Corporation, who designed and built this key component. And when ITT needed custom CCD image sensors for this new imaging system, they came to Kodak.

This isn't the first time Kodak has worked with ITT to design and manufacture CCD image sensors for a commercial imaging satellite - we also worked with ITT on the sensors used in DigitalGlobe's WorldView-1 and QuickBird satellites, as well as the IKONOS and GeoEye-1 satellites. But the CCD image sensors used in WorldView-2 give this satellite a unique set of imaging capabilities.

"Normal" color image sensors (like the one used in your digital camera, or in your phone) typically capture images in three different color ranges - red, green, and blue - and then use software to combine them into a single full color image. (Actually, this is very similar to how cone cells work in the retina of the eye.) The CCD image sensors in WorldView-2, however are different - instead of using three colors, they actually capture images across eight different wavelength regions, extending from the visible out into the IR. This extra color information can then be used to more accurately analyze vegetation on the ground, or generate more accurate "true-color" images from the satellite. In fact, this capability makes WorldView-2 unique, as it is the only commercial satellite that provides high resolution images across 8 different wavelength bands.

Less than two weeks after its launch, the first images from WorldView-2 have already been published by DigitalGlobe, as the satellite works through a 90-day initial calibration and check-out period. (If you're interested, you can even watch a replay of the satellite's launch.) After that, WorldView-2 should be fully on-line, providing new views of our planet from its orbit 500 miles above the Earth.

Not a bad place to gain some perspective.

When I came to work at Kodak Park twenty years ago, I was amazed at the wide variety of work that Kodak employees performed at the site.  There were carpenters who made lab cabinets, machinists that would make parts out of metal or plastic, engineers of all varieties, an elevator maintenance crew, security staff, skilled-trades workers of all types, and many very specialized occupations.  Kodak people could do just about anything including repairing equipment, fabricating parts, designing machines, and constructing buildings.  We were so vertically integrated I was a bit surprised Kodak did not own a silver mine!

With the change in the market for film, costs needed to be reduced to keep the company viable.  Over the years many of these specialized and site services have been transitioned to a wide variety of suppliers.  While this practice has played a part in the well publicized reduction in the number of Kodak employees, what is often missed is the number of functions performed at Kodak sites by our suppliers.  Many of our supplier's employees are former Kodakers whose knowledge and dedication is still vital to Kodak's success.  Although the jobs are no longer on Kodak's payroll, Kodak's suppliers have created and maintained thousands of jobs in Monroe County.  Here is a sampling of suppliers that support our Rochester sites and Kodak's future success!

www.eastmanbusinesspark.com

In our own way, each of us is truly a part of history - all of the things we do each day affect the people around us, influencing in some way the course of both our and others' lives.  While all of these things may be important, we also generally understand that some things probably are more important than others - my 8-year-old son may not remember where he left his glasses, but he can recount - with great detail - his plays from little league baseball this summer.  Sometimes, you just know that what you're doing will have a lasting impact - on your family, or an entire community.  Or even the world.  

Art Cosgrove is a Kodak retiree who worked first hand on the Lunar Orbiter program that photographed the moon in the late 60's to search for safe landing locations for the Apollo missions.  Art was part of the Kodak team directly involved in this program, and was there when the first high-resolution images of the moon were received on Earth over 40 years ago.  With last week's anniversary of the Apollo 11 lunar landing, I had an opportunity to talk to Art to learn more about the Lunar Orbiters - giving me the chance to have a conversation with someone who really did make history.  


How were you involved in the Lunar Orbiter missions?

To answer that, it probably helps to explain how the Lunar Orbiter sent images of the moon to earth.  It was a three-step process - first, images were captured by the orbiter's camera using film, the film was processed on-board the orbiter, and then the resulting images were scanned and transmitted to earth as a video signal.  Kodak was responsible for the image data received from the orbiters, and provided video engineers to monitor this data as it was received.  I was one of three video engineers working with this data as it was received by one of three Deep Space Network ground receiving stations on Earth - for the first Lunar Orbiter mission, I was at the receiving station in Australia, but also worked at the Spain and California stations for the other Orbiter missions.  


You must have been one of the first people to actually see high-resolution images of the moon's surface - right?

I was - but not in the way you might think.  Remember that the technology then was very different from what is available today - we weren't looking at an image displayed on a monitor, but a raw video signal being sent from the orbiter.  This signal was sent directly to a film recorder, but I would also monitor it on an oscilloscope as it was being received in real time - a flat line was a smooth surface, while "bumps" in the trace corresponded to the edges of craters.  So I could see right away what type of terrain the orbiter was looking at.  After the signal was written to the film recorder, we would process the film and review it before sending it to Rochester - so I saw actual pictures of the moon's surface before almost anyone else, too.  Because I saw these images before they were even sent to NASA, I ended up as one of the first people ever to see an image of the far side of the moon (the side that normally faces away from the Earth). 

How did it feel when you saw the first signals from the first orbiter and knew that knew the entire system was working?

Man, it was exciting!  Really, it's hard to describe the emotions, the pride of knowing that you're involved in this enormous undertaking.  Here I was, a young kid right out of school, now spending 12 - 14 hours a day talking directly to the Jet Propulsion Laboratory as these pictures came in.  Knowing that you have a part - a major part - in this, was amazing.  There were certainly other parts of my career where I was excited about the work I was doing, but I never had the level of intensity that I had with this program.  It was a very exciting time in my life, where I was seeing the world, experiencing new cultures - and being a part of this historic undertaking.



Did you appreciate that you were involved in something historic?

Absolutely.  The Lunar Orbiters were considered part of the Apollo program, and everyone understood the importance and significance of that entire effort.  My personal sense was "this is history" - and I was not only living it, but playing a key part in it.

About two years after the last Lunar Orbiter mission, Apollo 11 left the Earth heading for a lunar landing on Tranquility Base - a location that was finalized in a large part based on the information collected by the Lunar Orbiters.  Were you worried about that - did you think that you had collected was good data?

We definitely thought that data from the Orbiters was good.  The images we collected looked pristine, and we had a lot of them.

How important do you think Kodak was in preparing for the Apollo landings?

There really was no one else that could have developed the technology that ended up in the Lunar Orbiters.  Kodak had a lot of unique experience working in systems for aerial reconnaissance (of the Earth), and the Lunar Orbiters were build on the shoulders of that technology.  For example - on an extended space mission, you have to deal with the potential impact of high radiation levels on film.  At that time, no one really knew what those actual effects would be, but Kodak had physicists who had a lot of experience working film, and who were very good at hypothesizing about what would happen in space.  That experience was inside Kodak, and was vital to the successful design of the Orbiter.


What are you doing now?

Keeping very busy!  I retired in early 2006 after over 40 years at Kodak.  During my last years at Kodak, I represented Kodak on several committees defining broadcast standards for digital TV and digital cinema, and I still monitor those activities.  I've also been doing some personal travel - my wife and I have spent the last two winters in Florida Keys, and this past spring we travelled to Iceland and took a cruise on the Baltic Sea.