I have been studying plastic pollution for more than a decade. I’ve analyzed hundreds of samples in labs, pored over data and spent years thinking hard about where plastics go once they leave our hands and enter the environment. I love doing work on the water—this was a big part of my previous professional roles in Alaska and in Saipan, Northern Mariana Islands.

And here’s where it took me! I was thrilled to have the opportunity to join the first leg of eXXpedition’s voyage in the South Pacific this past spring, trading my lab coat for a lifejacket to study microplastics at sea. Sailing from Auckland, New Zealand, to the Bay of Islands aboard the 70-foot research vessel Wind Shift over 10 days, our crew of 12 women conducted ocean water-surface sampling via manta tow nets (a long cone-shaped mesh net), cleaned up debris on remote beaches and examined city streets with measuring tapes and field equipment. Our purpose? To collect key data to help us better understand the flow of plastics from land to sea.

Our all-female guest crew—hence the XX in “eXXpedition”—brought aboard expertise from the fields of structural engineering, circular economy strategy, sustainable fashion, plastics research, robotics and more. Together, we represented a remarkable cross-section of disciplines united around a shared concern for the health of our ocean.

Seeing it with my own eyes

We found plastics of all shapes and sizes everywhere we went—in the city streets of Auckland, while crossing the Hauraki Gulf and even at Aotea Great Barrier Island (one of the most remote and protected stretches of New Zealand’s coastline). Our ocean is vast and some of these places felt far removed from the centers of human activity, but this eXXpedition was a good reminder that plastic doesn’t respect remoteness. It moves, accumulates and shows up where we least expect.

Working alongside local NGO Sustainable Coastlines, we arrived on a remote stretch of beach on Aotea Great Barrier Island to audit and clean up any plastics we came across. What we found there told the same story our Auckland street surveys did: We found bottle caps, food packaging, fragments, plastic pellets and fishing debris. The everyday materials of modern life—but weathered, broken and scattered.

Science at sea

One of my favorite parts of the voyage (which was also one of the most challenging, if I’m being honest!) was the sea-surface manta trawl analyses we did onboard. I found out quickly that sorting microplastics from krill-laden seawater samples under a microscope while sailing is not for the faint of stomach.

The most common plastic culprit we found in those samples? Microplastic fibers. This type of microplastic is no wider than a human hair and is the most common type of microplastic found in the environment. Microplastic fibers can come from a variety of sources like cigarette butts, weathered ropes or wet wipes, but actually, most microplastic fibers shed from synthetic clothing and textiles. Laundering is a major source— shockingly, a single load of laundry can generate up to 18 million microfibers.

And yet, we found these tiny plastic fibers floating in the ocean many miles away from the nearest washing machine.

In my lab research, I have found microplastic fibers time and time again, but there’s something even more sobering about hand-picking them out of a seawater sample collected from pristine-looking waters. It was a good reminder of why understanding where plastic comes from, how it moves and where it ends up is so critical to addressing the problem at its roots.

What I’m bringing back

Studying plastic pollution from the deck of a boat in some of the most remote waters in the Southern Hemisphere made me appreciate the work I do even more. It also made me appreciate how important people are in this giant puzzle of plastic pollution solutions. The plastic pollution crisis is a human problem, and solving it requires all of us. The courage and dedication of the women I shared those 10 days with is something I won’t forget. Going to sea, doing the science and pushing through discomfort to collect data that matters was not easy. We were seasick some days and exhilarated others. Despite that fact, we showed up for it fully, every day.

The plastic is out there, even in far-flung corners of the ocean. And the answer is not to be paralyzed by that fact, but to use it as fuel. Every sample we collected is now a data point in a larger story about where plastic comes from and where it goes. Every cleanup, every surface trawl, every street block walked and every hour spent at a microscope are parts of building the evidence base that informs policies, regulations and systems-level changes that can actually turn this crisis around.

Cleaning up beaches and coastlines is valuable and necessary work. But we also must stop plastic from entering the ocean in the first place—through stronger policy, better product design and real investment in waste management infrastructure everywhere. Luckily, when it comes to the most common microplastics in the ocean— microplastic fibers—there is already an effective, affordable solution to immediately reduce microplastics coming from our laundry by roughly 90%: washing machine filters. These filters act just like laundry lint filters in our dryers, capturing fibers in tightly-woven mesh and effectively preventing them from leaving our homes and leaking into the environment.

What can you do?

There’s no better time to tackle plastic pollution than right now, during Plastic Free July! Take two minutes to add your name and call on your elected leaders to combat those pesky, dangerous microfibers that are pouring into our ocean daily—like the ones I found from my samples at sea. Together, we can stop plastic pollution at the source and protect our ocean forever and for everyone.

My biggest takeaways from this experience? People are remarkable. Our ocean is remarkable. And our ocean is worth fighting for, including from 70 feet of sailing vessel in the South Pacific, staring down a microscope with a pair of tweezers and a queasy stomach.

The eXXpedition South Pacific I voyage ran from April 27 to May 6, 2026, sailing from Auckland to the Bay of Islands. Learn more about the research team and our itinerary at https://exxpedition.com/voyage/auckland-to-bay-of-islands/.

Images from the eXXpedition

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Microplastic Pollution Research at Sea

Our annual Photo Contest is officially wrapped—and wow, you delivered! More than 1,000 ocean lovers shared their incredible ocean and wildlife photos. Thank you for keeping our ocean in focus during National Ocean Month and inspiring us with your creativity.

Now it’s time to meet the favorites. See the stunning photos that captured the hearts of our judges, staff and fellow ocean lovers.

Judges Choice Winner:
“Walrus Nursing” by Richard Rothstein

A word from the judges:

“There’s such tenderness in this Arctic moment—two adult walruses framing the calf nursing between them, all mirrored in the glassy meltwater below. That reflection doubles the impact and gives the composition a beautiful symmetry, and the soft, even light shows off every wrinkle and whisker. A quiet, intimate family portrait set against the fragile backdrop of the sea ice these animals depend on.” – Angela J. Farmer

“I love this photograph! The composition is excellent with the reflections and the ice bergs in the background balancing the photograph. I also appreciate that the photographer captured this photo and it does not appear like the animals were stressed out in any way. They are acting and behaving natural in their natural habitat. Very important to me as a photographer to not disturb the animals by my presence. Good job!” – Harvey Hergett

“…Really beautiful and powerful. I loved the calm moment, the reflection and the connection between the walruses. It feels very natural, honest and emotional.” – Andrés Ballesteros

Staff Choice Winner:
“The Lone Ranger” by Rowan Dear

(Rowan’s Instagram; Rowan’s Website)

A word from the judges:

“This is an absolute showstopper—the sunburst breaking through the surface turns an ordinary dive into something almost cinematic. The cuttlefish’s intricate textures and shifting purple-to-copper tones are stunning, and the way the light rays guide your eye right down to it shows real mastery of natural underwater lighting. A rich, immersive image that makes you feel like you’re in the water with him.” – Angela J. Farmer

“I liked the angle of the shot as shooting upward on the subject gives it a more majestic feel.” – Harvey Hergett

People’s Choice Winner:
“Sweet Seal” by Nicole Pellegrino

(Nicole’s Instagram; Nicole’s Website)

A huge thank you to everyone who entered, voted, shared and cheered on this year’s contest. And a mighty thanks to our expert judges: Angela J. Farmer, Harvey Hergett and Andrés Ballesteros. Congratulations to all our talented photographers—we can’t wait to see what you capture in 2027!

Enjoy the contest’s honorable mentions below and we’ll SEA you next year.

Honorable Mentions

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https://oceanconservancy.org/blog/2026/06/30/2026-photo-contest-winners/

Color Theory

Look at this core below (figure 1) and describe the colors and values you see.

Fig. 1) A small section of core: 401-U1611B-41R-2W from expedition 401

Some dark gray stripes, some light gray stripes, maybe some yellowish tones in the lightest stripes. Congratulations! You are applying color theory. Color theory is about describing the behavior of colors, such as mixing, color contrast, and color harmony. How colors look together and how they’re made is the basics of color theory application. It is often used by painters, but color theory is not just applicable for artists. It is necessary for the scientific world, including analysis of the ocean floor. Color theory is used as an aid for the functional applications of color as a science. To practice color science we need to first understand the international standards and practices for imaging.

In color science, we use CIELAB which stands for Commission International de l’Eclairage, or the International Commission on Illumination. They provide the recommendations for lighting, vision, color, and imaging. L*a*b* (pronounced “L star”, “a star”, and “b star”) stands for the coordinates that define a color numerically. The a* and b* signals relate to color, or chromaticity. A is related to redness or greenness. This means that a positive “a*” value (+a*) is more red, and a negative “a*” value (-a*) is more green. B is related to yellowness or blueness, so +b* is more yellow, and -b* is more blue. The values of a* and b* range from -128 to 128. The L* is the lightness channel and represents a value (black to white). L* is on a scale from 0-100, 0 being the whitest white we perceive, and 100 being the blackest black. The color of something can be found in this represented 3-axis model (figure 2).

Fig. 2) model of the CIELAB color space using 3-axis

CIELAB is designed to approximate human vision and is great for perceiving small differences in color. Unlike RGB or CMYK, the colors CIELAB defines are not defined by a monitor or printer, but instead relate to the CIE standard observer. The standard observer is an averaging of the results of color matching experiments under that particular laboratory’s conditions to create a set base value for future reflectance recordings. For ocean coring, machines like the Section Half Multisensor Logger (SHMSL) use the CIELAB system for imaging cores.

The SHMSL

Fig 3.) photo of the Section Half Multisensor Logger on the JOIDES Resolution scanning an ocean core.

The SHMSL measures two things, spectral reflectance and magnetic susceptibility. These are used to create core descriptions. Since the SHMSL uses CIELAB, it requires a standard observer to set the “base” values. To set the standard observer, the SHMSL has a color reflectance control set (figure 4). The reflectance control set is similar to the ColorChecker used in professional photography (figure 5). These color patches have a known spectral reflectance value and are designed to mimic the values of natural objects, or in this case potential sediment and hard rock colors. The SHMSL is calibrated using this control set and a white standard. It then uses this recorded reflectance value to adjust future values.

Fig. 4) A photo of the SHMSL color reflectance control set (left). Fig. 5) A photo of the Macbeth ColorChecker commonly used in photography (right).

Once calibrated and properly set up, the SHMSL is ready to read a core! Below is a finished reading of a core (figure 6). The three graphs at the bottom show the L*, a*, and b* values along the length of the core.

Fig. 6.1) Main IMS- SHMSL Data Acquisition Display (top). Fig 6.2) A zoomed in photo of the Main IMS- SHMSL Data Acquisition Display focusing only on the L*a*b* graph (bottom). 

The numbers at the bottom of each L*, a*, and b* graphs match with the length of the core in cm. For example, at 20cm this reading shows that the core had a L* value above 80, an a* value around -30, and a b* value of around 47. This means the color was lighter in value, more green than red and more yellow than blue. A color with these values looks roughly like this (figure 7):

Fig. 7) A photo of a pale, yellow-greenish color.

Machines like the SHMSL are important for identifying colors on ocean cores. As we humans age, the differences in color vision grow wider due to the yellowing of our lens over time. A person in their 50s will see colors in a more yellow tint than someone in their teens due to aging. The SHMSL sets a standard for the lighting and imaging in the laboratory, narrowing the divide to provide the most accurate reading of color on the core possible.

Applying to the core

So now we know how to read the machine, but what does the color of an ocean core actually tell us? Color differences are used to quantify how an object’s color can change over time from light exposure, heat, and humidity. In the case of ocean cores, “spectral data can be used to estimate the abundances of certain compounds,” (TAMU). This means, the light values of a core may tell us about potential organic content. For example, green cores may be an indication of glauconite (depending on location and geological time) which could indicate an ancient shallow marine environment. Look back at figure one. Based on what we know of this area of the ocean floor, this type of color contrast and coloration is a clear example of a dolomotisation sequence (the formation of dolomite). Colors are powerful tools used for studying our oceans, and our oceans are full of colorful knowledge waiting for those with eyes to see it.

Sources:

1. Berns, R. S. (2016). Color science and the visual arts a guide for conservators, curators, and the curious. Los Angeles Getty Conservation Institute.

1. TAMU. (2026). GCR Section Half Multisensor Core Logger (SHMSL) User Guide. Atlassian.net; Texas A&M University. https://tamu-eas.atlassian.net/wiki/spaces/LMUG/pages/7341017839/SHMSL+User+Guide. Updated 06 March 2026
2. Erick Bravo, Imaging Specialist for X401 aboard the JOIDES Resolution. Accessed 28 June 2026.
3. Ly, Bao & Dyer, Ethan & Feig, Jessica & Chien, Anna & Bino, Sandra. (2020). Research Techniques Made Simple: Cutaneous Colorimetry: A Reliable Technique for Objective Skin Color Measurement. The Journal of investigative dermatology. 140. 3-12.e1. 10.1016/j.jid.2019.11.003.
4. Macbeth ColorChecker. (2026). Imatest.com. https://www.imatest.com/wp-content/uploads/2022/01/msccc_colorchecker_classic_front.jpg
5. Banaś, W. (2024). Convert LAB to RGB – colordesigner.io. Colordesigner.io. https://colordesigner.io/convert/labtorgb

Image sources:

Figure 1: Source 3

Figure 2: Source 4

Figure 3-4,6: Source 2

Figure 5: Source 5

Figure 7: Source 6

Written by OCA 2026 Mentor, Kellan Moss

Color Science and Ocean Cores