Satellite imagery as a single source of predictor variables for habitat suitability modelling: how Landsat can inform the conservation of a critically endangered lemur

1. Statistical modelling of habitat suitability is an important tool for planning conservation interventions, particularly for areas where species distribution data are expensive or hard to collect. Sometimes however the predictor variables typically used in habitat suitability modelling are themselves difficult to obtain or not meaningful at the geographical extent of the study, as is the case for the Alaotran gentle lemur Hapalemur alaotrensis, a critically endangered lemur confined to the marshes of Lake Alaotra in Madagascar.2. We developed a habitat suitability model where all predictor variables, including vegetation indices and image texture measures at different scales (as surrogates for habitat structure), were derived from Landsat7 satellite imagery. Using relatively few presence records, the maximum entropy (Maxent) approach and AUC were used to assess the performance of candidate predictor variables, for studying the effect of scale, model selection and mapping suitable habitat.3. This study demonstrated the utility of satellite imagery as a single source of predictor variables for a Maxent habitat suitability model at the landscape level, within a restricted geographical extent and with a fine grain, in a case where predictor variables typically used at the macro-scale level (e.g. climatic and topographic) were not applicable.4. In the case of H. alaotrensis, the methodology generated a habitat suitability map to inform conservation management in Lake Alaotra and a replicable protocol to allow rapid updates to habitat suitability maps in the future. The exploration of candidate predictor variables allowed the identification of scales that appear ecologically relevant for the species.5. Synthesis and applications. This study presents a cost-effective combination of maximum entropy habitat suitability modelling and satellite imagery, where all predictor variables are derived solely from Landsat7 images. With a habitat modelling method like Maxent that shows good performance with few presence samples and Landsat images now freely available, the methodology can play an important role in rapid assessments of the status of species at the landscape level in data-poor regions, when typical macro-scale environmental predictors are of little use or difficult to obtain.

Hybrid image segmentation using fuzzy clustering algorithms satellite imagery searching and retrieval

Satellite image processing is a complex task that has received considerable attention from many researchers. In this paper, an interactive image query system for satellite imagery searching and retrieval is proposed. Like most image retrieval systems, extraction of image features is the most important step that has a great impact on the retrieval performance. Thus, a new technique that fuses color and texture features for segmentation is introduced. Applicability of the proposed technique is assessed using a database containing multispectral satellite imagery. The experiments demonstrate that the proposed segmentation technique is able to improve quality of the segmentation results as well as the retrieval performance.

Yaringa and French Island Marine National Park habitat mapping

Deakin University and the Department of Primary Industries were commissioned by ParksVictoria (PV) to create two updated habitat maps for Yaringa and French Island MarineNational Parks. The team obtained a ground-truth data set using in situ video and still photographs. This dataset was used to develop and assess predictive models of benthic marine habitat distributions incorporating data from World-View-2 imagery atmospherically corrected by CSIRO and LiDAR (Light Detection and Ranging) bathymetry. In addition, the team applied an unsupervised classification approach to an aerial photograph to assess the differences between the two remote sensors. This report describes the results of the mapping as well as the methodology used to produce these habitat maps.This study has provided mapping of intertidal and subtidal habitats of Yaringa and FrenchIsland MNPs at a 2 m resolution with fair to good accuracies (Kappa 0.40-0.75). These were combined with mangrove and saltmarsh habitats recently mapped by Boon et al. (2011) to provide compete-coverage habitat maps of Yaringa and French Island MNPs.The mapping showed that Yaringa MNP was dominated by mangroves, wet saltmarsh and dense Zostereaceae, covering 33%, 29% and 19%, respectively. Similarly, intertidalvegetation and subtidal vegetation (dominated by Zosteraceae) covered 26% and 25% ofFrench Island MNP. However, as a result of turbidity and missing satellite imagery 27% ofFrench Island MNP remains unmapped.The coupling of WV-2 and LiDAR reduced potential artefacts (e.g. sun glint causing whiteand black pixels known as the “salt and pepper effect”). The satellite classification appeared to provide better results than the aerial photography classification. However, since there is a two-year difference between the capture of the aerial photography and the collection of the ground-truth data this comparison is potentially temporally confounded. It must also be noted that there are differences in costs of the data,the spatial resolution between the two datasets (i.e. WV-2 = 2 m and the Aerial = 0.5 m) and the amount spectral information contained in the data (i.e. WV-2 = 8 bands and the aerial = 4 bands), which may ultimately determine its utility for a particular project.The spatial assessment using FRAGSTATs of habitat patches within Yaringa MNP provides a viable and cost effect way to assess habitat condition (i.e. shape, size and arrangement).This spatial assessment determined that dense Zosteraceae and NVSG habitat classeswere generally larger in patch size and continuity than the medium/sparse Zosteraceaehabitat. The application spatial techniques to time-series mapping may provide a way toremotely monitor the change in the spatial characteristics of marine habitats.This work was successful in providing new baseline habitat maps using a repeatable method meaning that any future changes in intertidal and shallow water marine habitats may be assessed in a consistent way with quantitative error assessments. In wider use, these maps should also allow improved conservation planning, fisheries and catchment management, and contribute toward infrastructure planning to limit impacts on Western Port.

Retake Melbourne : mobile application for re-photography and comparative imaging research

A project of interpretive and comparative re-photography, making use of the collection of Mark Strizic's images and the documents related to his career, held by the State Library, as a basis. Strizic died in 2012. It is now 50 years since his work began to illustrate the period of the 1960s when architecture of the Gold Rush era coexisted side-by-side with, and was being replaced by, curtain-glass high-rise office buildings. It is the position of the researchers that not sufficient attention has been given to Mark Strizic’s reaction to what he saw as a plague of ugliness pervading Australian city-scapes, developing a distinctive aesthetic that in turn made his work useful to commentators like Robin Boyd and David Saunders. Strizic operated from a unique perspective as a migrant with an architectural heritage from his father Zdenko, prominent architecture professor in Croatia, and visiting professor of architecture at Melbourne University in the 1960s. Precise re-photography alongside creative work will enable a comparison of Melbourne now with fifty years ago. The public will be able to participate in and contribute to the project via a crowd-funded custom-made app. Half a century has passed since Strizic made his photographs of Melbourne. In so many cases buildings have disappeared or altered, streetscapes have changed and the appearance of Melburnians have changed as have their habits of using the city. A selection of Strizic’s photographs of Melbourne locations can be rephotographed by the public using the methods devised by Mark Klett, assisted by the app software. This will provide a core of documentary imagery of benefit in framing and completing the rest of this project and to future research through comparisons over the time span. The app enables the location on a map of the site and orientation of photographs taken by Strizic. Photographs are downloaded onto users’ devices from the online SLV Strizic picture catalogue. They appear in the app as transparent templates so that users can line up their own re-photograph with accuracy. They will be able to upload their resultant images to a server and they will be available to the Library as an archive enabling direct comparison with the Strizic holdings. It is anticipated that involvement and participation of the public will elevate the profile of the project and publicise the SLV collections and encourage their increased usage and popularity.

Photography and christian mission: George Brown`s images of the New Britain mission 1875-80

In 1875, Methodist George Brown arrived in the Bismarck Archipelago to establish the New Britain Mission. Based in the Duke of York Islands, Brown's territory covered New Ireland and the Gazelle Peninsula of New Britain. The mission was one of the first to be photographed from its inception. The Australian Museum holds 96 plates from the first five years of the mission. Brown's photographs are a visual record of conditions and peoples of the time. Analysed in relation to Brown's writings they are indicative of the relationships and bonds established through photography both in the mission field and across wider scientific and church audiences. The methodology employed here also challenges the kinds of interpretations of photographs that can arise from visual analyses relying solely on the caption and the posing of the subject.

Anticipating the uptake and possible implication of digital imaging within the construction industry

Photography within the construction industry is merging into a new form of image capture and output that is a mix of conventional photography and digital imagery. As this transition takes place it is anticipated that the credibility of the image may also change within in the communication chain that links the various disciplines within the building industry. The following paper presents the development and results of a pilot survey of building professionals, which addresses the quality, content and authenticity of both conventional photography and digitally produced images used within the construction industry.

Memory, photography, and the politics of abuse : the ambiguous nature of photography

Critical commentary on Australian artist Bill Henson’s work including the series Untitled 1994-1995 which represented Australia at the Venice Biennale is frequently framed within the discourse of the ‘white cube’. Its contextualisation in predominantly art historical and formalist perspectives tends to operate as a mechanism that denies affective and embodied dimensions of meaning making. Much the same could be said of the work of Marian Drew who uses road kill in her photographic still life works. However, the ‘distancing’ in these works is also achieved through historical allusion, which at the same time reactivates the fl ow of emotional empathy and desire. In this paper, I ask the question: “What distinguishes the work of these two artists with media images of torture?”

My attempt to address this question will involve a narrative re-reading of selected works of Henson and Drew incorporating notions of affect, identification, memory and desire as processes which operate non-discursively, but which are inseparable from memory and lived experiences. This will permit a double exposure of the work of these artists. Within a psychoanalytical context, my re-reading will be used to extend an understanding of the now familiar press and Internet images of the torture of Iraqi prisoners.

As a metaphor for desire and ideology, photography operates within manifest and latent registers. I will argue that certain forms of photographic practice may be understood in terms of a politics of abuse — instantiating an uneven differentiation of power between actants, the winning (forcefully or otherwise) of consent or complicity, the silencing of refusal of resistance and/or the incriminating of the ‘victim’ — whilst at the same time upholding the claim of verisimilitude and aesthetic or ethical intent. Critical engagement with such practices is crucial to an understanding of the relationship between institutional discourses, trauma and abuse in contemporary society.

Internal and external imagery perspective measurement and use in imagining open and closed sport skills: an exploratory study

This study explored the measurement and use of internal and external imagery perspectives during imagery of open and closed sports skills. Participants  (N=41; male=23; female = 18), ages 14 to 28 (M=19.4 yr.; sD=3.1), who were recruited from undergraduate classes in human movement and physical education, and local sporting teams, completed the Imagery Use Questionnaire and then imagined performing eight common sports skills, four open skills and four closed skills, in a random order. Participants provided concurrent verbalisation during their imagery. Immediately after imagining each skill, participants completed a rating scale and retrospective verbalisation of imagery perspective use. Analysis indicated that the questionnaire gave a general imagery perspective preference but was not a strong predictor of imagery used on specific occasions. The three measures of imagery perspective were equivalent in imagining performing particular skills. Participants experienced more internal imagery than external imagery while imagining the eight sports skills, but there was no significant difference between perspective use on the open and closed skills.

Changing preferences : conventional photography to digital imaging in communicating architecture

Architectural photography is merging into a new form of image capture and output which is a mix of conventional photography and digital imagery. As this transition takes place it is anticipated that the credibility of the image may also change. the aim of the project is to research the perception of the quality, content and authenticity of both conventional photography and digitally produced images used within the architectural profession.

Nurse stress in hospital and satellite haemodialysis units

Focus groups of nurses from both in-centre and satellite dialysis units were undertaken followed by questionnaires. The In-centre nursing staff rated the busy-ness of the unit as the maximum stress. The mostly notable stressor for the staff at the satellite unit related to patient behaviour and the perceived unrealistic expectations of the patient followed by patients arriving unwell at the unit.

Nurses suffer stress on a daily basis in both in-centre and satellite dialysis units. The major stressors differ from in-centre to satellite dialysis units.