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Wade Sisler: Aficionado of Wonder Serving the Cosmos
Across 42 years at NASA, Wade Sisler — executive producer at NASA’s Goddard Space Flight Center in Greenbelt, Maryland—watched the edge of human knowledge progress. During that time, the tools for visualizing and communicating those discoveries evolved just as rapidly.
Executive Producer Wade Sisler has worked at NASA for 42 years, starting at the agency’s Ames Research Center in California’s Silicon Valley, and now at Goddard Space Flight Center in Greenbelt, Md.Credit: Courtesy of Wade Sisler
“I’ve spent my career surrounded by people with amazing curiosity and intellect, pursuing questions that could change the way we see the universe, both literally and metaphorically,” Sisler said.
From his start as a student photographer at NASA’s Ames Research Center in California’s Silicon Valley, Sisler ultimately became a creative force behind some of NASA’s most iconic science storytelling. He transitioned to videography when he realized the wonder and understanding the medium could convey.
Photos taken by Sisler between 1985 and 1992 that showcase emerging NASA technologies.Credit: NASA/Wade Sisler
“The fidelity of the story you could tell with pictures through video was so impactful,” he said. “It was just pure awe. So I gave up my Hasselblads, trading the sheer beauty of imagery for the much more powerful storytelling tools that came with the emerging field of video — specifically the ability to take the audience with you to experience the mission.”
From Space Frogs to the Eagle NebulaIn the 1980s and ’90s, Sisler worked as a producer on a wide range of projects, translating complex research into short documentaries and educational broadcasts.
“We were helping people see things that had never been seen before, and showing them relationships that they never knew existed,” he said.
In one of his favorite early assignments, Sisler worked with astronaut Mae Jemison for a video project on space frogs. Jemison was studying how frog embryos develop in microgravity on the space shuttle. Sisler also had a hand in early virtual reality systems, producing one of the first videos depicting how VR could work.
Sisler (left) stands alongside coworkers Marty Curry, Eric James, and branch chief Roland Michealis — fellow members of the photography team at NASA Ames.Credit: Courtesy of Wade Sisler
Sisler eventually moved from NASA Ames to NASA Headquarters in Washington. There, he helped modernize NASA TV.
“They were shifting it from just mission-oriented content to a television news feed, exploring ideas to align with national news interests,” he said.
In one of his pilot stories, he produced a video and story news package about the Hubble Space Telescope’s observations of the Eagle Nebula.
“They handed me a 16-by-20-inch print of the Eagle Nebula right after Hubble imaged it,” he said. His team used a robotic camera to pan around the image while narration explained what viewers were seeing. “We wondered if we put that little microcosm of a story into a news feed, would anybody use it? And it ended up being used thousands and thousands of times, validating the NASA TV model with a bona fide science story and giving me a glimpse of the exciting stuff I could do.”
While at NASA Headquarters, Sisler also negotiated an IMAX agreement that led to new 3D films (including ones Sisler worked on, like the 1997 “Mission to Mir” and 2002 “Space Station 3D”). After a few years, he moved on to NASA’s Goddard Space Flight Center in Greenbelt, Maryland, in 1997 as an executive producer. Goddard’s communications team was small and had little experience in visual storytelling, so he joined the team to nurture its growth.
Sisler stands alongside Office of Communications collaborators Laura Betz and Thaddeus Cesari at the immersive “Beyond the Light” exhibit of James Webb Space Telescope imagery at ARTECHOUSE in Washington, D.C.Credit: Courtesy of Wade Sisler Science for the Senses
In the late ’90s, Wade teamed up with NASA’s Scientific Visualization Studio (based at NASA Goddard) and lead visualizer Horace Mitchell to explore a new frontier in science storytelling. While NASA was already known for its iconic space imagery, much of its data deals with invisible phenomena or abstract processes that aren’t inherently visual. By bringing together scientists, artists, and producers, Sisler helped transform data into visualizations and animations for broader audiences.
“We had to invent ways of visualizing the invisible so meaning was more easily conveyed,” he said. “The result was stories that were not just newsworthy—they were often stunningly beautiful and showed the connections and workings of the Earth and universe in ways we had never seen before.”
The team had a breakout hit in 1998 with an El Niño visualization, which helped drive public understanding of the phenomenon. Sisler also helped launch a NASA Goddard program to link scientific experts with news stations around the world.
“We wanted to put the authentic voices of scientists in the chair to convey their sense of awe while telling people scientifically why it matters,” he said. “Pairing their voices with great visualizations was an unbeatable combination and that became the fundamental way we tell science stories.”
Sisler’s storytelling journey evolved into increasingly ambitious creative partnerships that brought NASA science to new cultural spaces. With “Cosmic Cycles,” a collaboration with the National Philharmonic, Wade helped create a program that paired music from a live symphony with high-resolution NASA imagery, inviting viewers to experience the celestial scenery emotionally, not just intellectually.
Instead of the NASA Goddard team creating a video to go along with music, “The composer drew inspiration from video produced by Goddard,” Sisler said. “It’s one of the best examples of science and art in mutual orbit.”
From left: Multimedia Producer Scott Wiessinger of NASA Goddard, Sisler, maestro Piotr Gajewski of the National Philharmonic, and composer Henry Dehlinger participate in a panel discussion about “Cosmic Cycles: A Space Symphony,” a collaboration between NASA Goddard and the National Philharmonic.Credit: NASA/Joel Kowsky
That blending of science and artistic expression reached a new scale in “Beyond the Light,” an art show developed with ARTECHOUSE and James Webb Space Telescope communications lead Laura Betz. Sisler linked artists with NASA scientists to turn cutting-edge astrophysics into a gallery-scale sensory experience. Most recently, Sisler championed a major documentary on Webb called “Cosmic Dawn.” The 1.5-hour film brings viewers on an unprecedented journey through Webb’s delicate assembly, rigorous testing, and triumphant launch.
Many of NASA’s flagship communication programs trace their roots to small teams that Sisler helped assemble and guide. He took a builder’s approach, rolling up his sleeves, testing ideas, and empowering others to scale them. From science storytelling and satellite media tours to the rise of NASA’s audio storytelling, Spanish-language content, Conceptual Image Laboratory animations, social media presence, and live broadcast programming, Sisler played a key role in turning bright ideas into enduring agency assets.
For each of these projects, Sisler worked behind the scenes as a creative force and a connector, bringing together filmmakers, animators, composers, scientists, engineers, astronauts, museum curators, data visualizers, and educators.
Lighting the WayDespite many accolades, Sisler said his proudest accomplishment is the success of the internship program he has led for NASA Goddard’s Office of Communications.
Sisler has served as a mentor for many interns over the years, including students like Talya Lerner, center, standing next to Ed Campion, then-Goddard news chief. Sisler has referred to his own career as “the internship that never ended” because he had so many opportunities to explore different areas of communications. Credit: NASA/Bill Hrybyk
“The thing that stays with me most is seeing where our former interns have landed,” he said. Many now lead their own programs within NASA, shaping the next generation of science storytelling from inside the agency. Others have taken their skills beyond NASA, contributing to science and technology literacy through media, education, and public engagement. “It’s been a privilege to help launch so many of these careers. I’ve always believed that when you combine mentorship, meaningful work, and a little creative freedom, you create a ripple effect that lasts for decades.”
Sisler’s own NASA journey began with a Pathways internship at NASA Ames while he was studying journalism at Baylor University in Texas. His work there drew him into visual storytelling, which led him to pursue photography, video, and science photography at the Rochester Institute of Technology in New York. As he alternated semesters between school and NASA Ames, he refined both his interests and his skills.
Sisler’s goal as an internship program coordinator was to help give the next generation of science communicators the same opportunity. He developed a communication “boot camp” to help interns develop their storytelling chops in many areas and figure out which were their favorites.
“All the interesting stuff happens at the intersections of people’s passions,” he said. “The best, most powerful thing I think I’ve done in my time at NASA is to help guide the next wave of science communicators. Seeing their success is the gift that keeps on giving.”
By Ashley Balzer
NASA’s Goddard Space Flight Center, Greenbelt, Md.
Wade Sisler: Aficionado of Wonder Serving the Cosmos
Across 42 years at NASA, Wade Sisler — executive producer at NASA’s Goddard Space Flight Center in Greenbelt, Maryland—watched the edge of human knowledge progress. During that time, the tools for visualizing and communicating those discoveries evolved just as rapidly.
Executive Producer Wade Sisler has worked at NASA for 42 years, starting at the agency’s Ames Research Center in California’s Silicon Valley, and now at Goddard Space Flight Center in Greenbelt, Md.Credit: Courtesy of Wade Sisler“I’ve spent my career surrounded by people with amazing curiosity and intellect, pursuing questions that could change the way we see the universe, both literally and metaphorically,” Sisler said.
From his start as a student photographer at NASA’s Ames Research Center in California’s Silicon Valley, Sisler ultimately became a creative force behind some of NASA’s most iconic science storytelling. He transitioned to videography when he realized the wonder and understanding the medium could convey.
Photos taken by Sisler between 1985 and 1992 that showcase emerging NASA technologies.Credit: NASA/Wade Sisler“The fidelity of the story you could tell with pictures through video was so impactful,” he said. “It was just pure awe. So I gave up my Hasselblads, trading the sheer beauty of imagery for the much more powerful storytelling tools that came with the emerging field of video — specifically the ability to take the audience with you to experience the mission.”
From Space Frogs to the Eagle NebulaIn the 1980s and ’90s, Sisler worked as a producer on a wide range of projects, translating complex research into short documentaries and educational broadcasts.
“We were helping people see things that had never been seen before, and showing them relationships that they never knew existed,” he said.
In one of his favorite early assignments, Sisler worked with astronaut Mae Jemison for a video project on space frogs. Jemison was studying how frog embryos develop in microgravity on the space shuttle. Sisler also had a hand in early virtual reality systems, producing one of the first videos depicting how VR could work.
Sisler (left) stands alongside coworkers Marty Curry, Eric James, and branch chief Roland Michealis — fellow members of the photography team at NASA Ames.Credit: Courtesy of Wade SislerSisler eventually moved from NASA Ames to NASA Headquarters in Washington. There, he helped modernize NASA TV.
“They were shifting it from just mission-oriented content to a television news feed, exploring ideas to align with national news interests,” he said.
In one of his pilot stories, he produced a video and story news package about the Hubble Space Telescope’s observations of the Eagle Nebula.
“They handed me a 16-by-20-inch print of the Eagle Nebula right after Hubble imaged it,” he said. His team used a robotic camera to pan around the image while narration explained what viewers were seeing. “We wondered if we put that little microcosm of a story into a news feed, would anybody use it? And it ended up being used thousands and thousands of times, validating the NASA TV model with a bona fide science story and giving me a glimpse of the exciting stuff I could do.”
While at NASA Headquarters, Sisler also negotiated an IMAX agreement that led to new 3D films (including ones Sisler worked on, like the 1997 “Mission to Mir” and 2002 “Space Station 3D”). After a few years, he moved on to NASA’s Goddard Space Flight Center in Greenbelt, Maryland, in 1997 as an executive producer. Goddard’s communications team was small and had little experience in visual storytelling, so he joined the team to nurture its growth.
Sisler stands alongside Office of Communications collaborators Laura Betz and Thaddeus Cesari at the immersive “Beyond the Light” exhibit of James Webb Space Telescope imagery at ARTECHOUSE in Washington, D.C.Credit: Courtesy of Wade Sisler Science for the SensesIn the late ’90s, Wade teamed up with NASA’s Scientific Visualization Studio (based at NASA Goddard) and lead visualizer Horace Mitchell to explore a new frontier in science storytelling. While NASA was already known for its iconic space imagery, much of its data deals with invisible phenomena or abstract processes that aren’t inherently visual. By bringing together scientists, artists, and producers, Sisler helped transform data into visualizations and animations for broader audiences.
“We had to invent ways of visualizing the invisible so meaning was more easily conveyed,” he said. “The result was stories that were not just newsworthy—they were often stunningly beautiful and showed the connections and workings of the Earth and universe in ways we had never seen before.”
The team had a breakout hit in 1998 with an El Niño visualization, which helped drive public understanding of the phenomenon. Sisler also helped launch a NASA Goddard program to link scientific experts with news stations around the world.
“We wanted to put the authentic voices of scientists in the chair to convey their sense of awe while telling people scientifically why it matters,” he said. “Pairing their voices with great visualizations was an unbeatable combination and that became the fundamental way we tell science stories.”
Sisler’s storytelling journey evolved into increasingly ambitious creative partnerships that brought NASA science to new cultural spaces. With “Cosmic Cycles,” a collaboration with the National Philharmonic, Wade helped create a program that paired music from a live symphony with high-resolution NASA imagery, inviting viewers to experience the celestial scenery emotionally, not just intellectually.
Instead of the NASA Goddard team creating a video to go along with music, “The composer drew inspiration from video produced by Goddard,” Sisler said. “It’s one of the best examples of science and art in mutual orbit.”
From left: Multimedia Producer Scott Wiessinger of NASA Goddard, Sisler, maestro Piotr Gajewski of the National Philharmonic, and composer Henry Dehlinger participate in a panel discussion about “Cosmic Cycles: A Space Symphony,” a collaboration between NASA Goddard and the National Philharmonic.Credit: NASA/Joel KowskyThat blending of science and artistic expression reached a new scale in “Beyond the Light,” an art show developed with ARTECHOUSE and James Webb Space Telescope communications lead Laura Betz. Sisler linked artists with NASA scientists to turn cutting-edge astrophysics into a gallery-scale sensory experience. Most recently, Sisler championed a major documentary on Webb called “Cosmic Dawn.” The 1.5-hour film brings viewers on an unprecedented journey through Webb’s delicate assembly, rigorous testing, and triumphant launch.
Many of NASA’s flagship communication programs trace their roots to small teams that Sisler helped assemble and guide. He took a builder’s approach, rolling up his sleeves, testing ideas, and empowering others to scale them. From science storytelling and satellite media tours to the rise of NASA’s audio storytelling, Spanish-language content, Conceptual Image Laboratory animations, social media presence, and live broadcast programming, Sisler played a key role in turning bright ideas into enduring agency assets.
For each of these projects, Sisler worked behind the scenes as a creative force and a connector, bringing together filmmakers, animators, composers, scientists, engineers, astronauts, museum curators, data visualizers, and educators.
Lighting the WayDespite many accolades, Sisler said his proudest accomplishment is the success of the internship program he has led for NASA Goddard’s Office of Communications.
Sisler has served as a mentor for many interns over the years, including students like Talya Lerner, center, standing next to Ed Campion, then-Goddard news chief. Sisler has referred to his own career as “the internship that never ended” because he had so many opportunities to explore different areas of communications. Credit: NASA/Bill Hrybyk“The thing that stays with me most is seeing where our former interns have landed,” he said. Many now lead their own programs within NASA, shaping the next generation of science storytelling from inside the agency. Others have taken their skills beyond NASA, contributing to science and technology literacy through media, education, and public engagement. “It’s been a privilege to help launch so many of these careers. I’ve always believed that when you combine mentorship, meaningful work, and a little creative freedom, you create a ripple effect that lasts for decades.”
Sisler’s own NASA journey began with a Pathways internship at NASA Ames while he was studying journalism at Baylor University in Texas. His work there drew him into visual storytelling, which led him to pursue photography, video, and science photography at the Rochester Institute of Technology in New York. As he alternated semesters between school and NASA Ames, he refined both his interests and his skills.
Sisler’s goal as an internship program coordinator was to help give the next generation of science communicators the same opportunity. He developed a communication “boot camp” to help interns develop their storytelling chops in many areas and figure out which were their favorites.
“All the interesting stuff happens at the intersections of people’s passions,” he said. “The best, most powerful thing I think I’ve done in my time at NASA is to help guide the next wave of science communicators. Seeing their success is the gift that keeps on giving.”
By Ashley Balzer
NASA’s Goddard Space Flight Center, Greenbelt, Md.
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Curiosity Blog, Sols 4622-4623: Kicking Off (Earth) Year 14 With an Investigation of Veins
- Curiosity Home
- Science
- News and Features
- Multimedia
- Mars Missions
- Mars Home
3 min read
Curiosity Blog, Sols 4622-4623: Kicking Off (Earth) Year 14 With an Investigation of Veins NASA’s Mars rover Curiosity, using its Left Navigation Camera, caught the shadow of the rover’s mast looking ahead to new terrain as the mission started its 14th Earth year on Mars. Curiosity acquired this image on Aug. 6, 2025 — Sol 4621, or Martian day 4,621 of the Mars Science Laboratory mission — at 06:24:09 UTC. NASA/JPL-Caltech
Written by Abigail Fraeman, Deputy Project Scientist at NASA’s Jet Propulsion Laboratory
Earth planning date: Wednesday, Aug. 6, 2025.
Today was a very special day for Curiosity as the rover celebrated the start of a 14th year on Mars. Curiosity is currently exploring the mysterious boxwork formations. On Monday, the rover positioned itself at the side of one of the ridges, where the team had spotted tantalizing hints of a complex network of razor-thin veins that may give insight into what is holding the ridges up, compared to the surrounding hollows.
In this plan, the team will use the instruments on Curiosity’s arm and mast to investigate the geometry and composition of these veins to learn more about them. APXS and MAHLI will both observe “Repechón,” a loose block with dark-toned, mottled material exposed on top, as well as “Lago Poopó,” a bright, relatively clean vein network. MAHLI will also collect a side view of “Repechón.” ChemCam will use its laser to analyze two targets, “Vicguna,” a protruding vein edge with nodular texture, and “Ibare,” which has some exposed light-toned veins. Outside of the vein investigation, ChemCam’s telescopic RMI camera will observe layering in a nearby butte and the Mishe Mokwa feature, while Mastcam will take mosaics on “Cachiniba,” a broken block, “Yapacani,” the side of another large boxwork ridge, and “Llullaillaco,” a faraway feature that we imaged from a slightly different location in a previous plan. Additional environmental monitoring observations will round out the plan, followed by a straight-line drive to the east, to an area where several large boxwork ridges intersect that the team has been informally calling “the peace sign” because of its shape.
I usually get nostalgic around landing anniversaries, or “landiversaries,” and this year, I found myself looking back through pictures of landing night. One of my favorites shows me standing next to science team member Kirsten Siebach right after we received the first images from Curiosity. The two of us have the biggest, most excited grins on our faces. We were both graduate students at the time, and both of us were writing thesis chapters analyzing orbital data over regions we hoped to explore with Curiosity one day. I was studying a layer in Mount Sharp that contained hematite, and the team named this feature “Vera Rubin ridge” when Curiosity reached it in 2017. Kirsten, who is now a professor at Rice University, was focused on the boxwork structures, pondering how they formed and hypothesizing what they might tell us about the history of Martian habitability when we reached them.
Thirteen years later, I had another big grin on my face today, as I listened to Kirsten and our incredible science team members excitedly discussing Curiosity’s new images of these same boxwork structures. I was also filled with gratitude for the thousands of people it took to get us to this moment. It was the absolute best way to spend a landiversary.
Learn more about Curiosity’s science instruments
For more Curiosity blog posts, visit MSL Mission Updates
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Curiosity Blog, Sols 4622-4623: Kicking Off (Earth) Year 14 With an Investigation of Veins
- Curiosity Home
- Science
- News and Features
- Multimedia
- Mars Missions
- Mars Home
3 min read
Curiosity Blog, Sols 4622-4623: Kicking Off (Earth) Year 14 With an Investigation of Veins NASA’s Mars rover Curiosity, using its Left Navigation Camera, caught the shadow of the rover’s mast looking ahead to new terrain as the mission started its 14th Earth year on Mars. Curiosity acquired this image on Aug. 6, 2025 — Sol 4621, or Martian day 4,621 of the Mars Science Laboratory mission — at 06:24:09 UTC. NASA/JPL-CaltechWritten by Abigail Fraeman, Deputy Project Scientist at NASA’s Jet Propulsion Laboratory
Earth planning date: Wednesday, Aug. 6, 2025.
Today was a very special day for Curiosity as the rover celebrated the start of a 14th year on Mars. Curiosity is currently exploring the mysterious boxwork formations. On Monday, the rover positioned itself at the side of one of the ridges, where the team had spotted tantalizing hints of a complex network of razor-thin veins that may give insight into what is holding the ridges up, compared to the surrounding hollows.
In this plan, the team will use the instruments on Curiosity’s arm and mast to investigate the geometry and composition of these veins to learn more about them. APXS and MAHLI will both observe “Repechón,” a loose block with dark-toned, mottled material exposed on top, as well as “Lago Poopó,” a bright, relatively clean vein network. MAHLI will also collect a side view of “Repechón.” ChemCam will use its laser to analyze two targets, “Vicguna,” a protruding vein edge with nodular texture, and “Ibare,” which has some exposed light-toned veins. Outside of the vein investigation, ChemCam’s telescopic RMI camera will observe layering in a nearby butte and the Mishe Mokwa feature, while Mastcam will take mosaics on “Cachiniba,” a broken block, “Yapacani,” the side of another large boxwork ridge, and “Llullaillaco,” a faraway feature that we imaged from a slightly different location in a previous plan. Additional environmental monitoring observations will round out the plan, followed by a straight-line drive to the east, to an area where several large boxwork ridges intersect that the team has been informally calling “the peace sign” because of its shape.
I usually get nostalgic around landing anniversaries, or “landiversaries,” and this year, I found myself looking back through pictures of landing night. One of my favorites shows me standing next to science team member Kirsten Siebach right after we received the first images from Curiosity. The two of us have the biggest, most excited grins on our faces. We were both graduate students at the time, and both of us were writing thesis chapters analyzing orbital data over regions we hoped to explore with Curiosity one day. I was studying a layer in Mount Sharp that contained hematite, and the team named this feature “Vera Rubin ridge” when Curiosity reached it in 2017. Kirsten, who is now a professor at Rice University, was focused on the boxwork structures, pondering how they formed and hypothesizing what they might tell us about the history of Martian habitability when we reached them.
Thirteen years later, I had another big grin on my face today, as I listened to Kirsten and our incredible science team members excitedly discussing Curiosity’s new images of these same boxwork structures. I was also filled with gratitude for the thousands of people it took to get us to this moment. It was the absolute best way to spend a landiversary.
Learn more about Curiosity’s science instruments
For more Curiosity blog posts, visit MSL Mission Updates
Share Details Last Updated Aug 07, 2025 Related Terms Explore More 3 min read Curiosity Blog, Sols 4618-4619: The Boxwork Structures Continue to Call to Us
Article
2 days ago
3 min read Curiosity Blog, Sols 4620-4621: Among the Hollows and the Ridges
Article
2 days ago
4 min read Curiosity Blog, Sols 4616-4617: Standing Tall on the Ridge
Article
3 days ago
Keep Exploring Discover More Topics From NASA Mars
Mars is the fourth planet from the Sun, and the seventh largest. It’s the only planet we know of inhabited…
All Mars Resources
Explore this collection of Mars images, videos, resources, PDFs, and toolkits. Discover valuable content designed to inform, educate, and inspire,…
Rover Basics
Each robotic explorer sent to the Red Planet has its own unique capabilities driven by science. Many attributes of a…
Mars Exploration: Science Goals
The key to understanding the past, present or future potential for life on Mars can be found in NASA’s four…