An interview with NIKON CREATOR Michele Thompson Canadian photographer Michele Thompson’s practice began as a personal creative outlet to support her mental health. Since 2019, she has worked to master her craft, covering a range of outdoor adventures chasing light. She also now shares what she has learned as a Nikon Creator, motivating and inspiring others. We spoke to Michele about her work and adventures. EVERY RIDGE LEADS HERE • Sunrise from Diamond Head, Oahu, Hawaii, where first light breaks over the ridge and reveals the quiet layers of the landscape below. • Shot with: Nikon Z6II; Nikkor Z 24–120mm f/4; ISO100, 1/320, f16, 27mm (3 image HDR merge) photoED: How did you learn photography? Michele: I’m a self-taught photographer, learning from a mix of reading, watching, and doing. I’ve spent a lot of time studying online content and attending workshops to learn from others in the community. But just as importantly, I learned from being out in the field, experimenting, and making mistakes to refine my approach over time. A big part of my process has also been studying other photographers’ work. When I see an image I’m drawn to, I try to understand why it works, whether it is the light, the composition, or the timing, and I keep that in mind the next time I’m out shooting. Curiously, my background as a dentist has shaped how I learn and how I shoot. Dentistry requires a balance of precision and creativity, being technically exact while also paying close attention to details, forms, and aesthetics. I see a lot of parallels in my creative work. Within technical constraints, you’re also making creative decisions. SMALL AGAINST IT • Winter swells on the North Shore of Oahu, Hawaii. • Shot with: Nikon Z6II, ISO160, 1/2000s, f5.6, 340mm photoED: What do you love most about sharing stories through photography? Michele: What I love most is that photography lets me hold onto moments that were never meant to last. A wave curling just so, a swimmer paused beneath it, the sun on a horizon, none of that stays. It’s there for a second, then it’s gone. But if I’ve done my job, if I planned well enough, waited long enough, showed up ready, I get to keep that and so does whoever looks at the photograph after me. Whether it’s a stormy Oahu coastline or a quiet tree in a field, I was there, paying attention, at exactly the right second. That’s what I want people to feel when they look at my images. Not just “this is beautiful,’” but also “I wish I’d been there to see it too.” It’s less about the final photograph and more about being present for something that would have otherwise disappeared. HELD BRIEFLY • A winter sunrise Markham, ON. A solitary tree holds its ground in the winter landscape, illuminated by the first light of day. • Shot with: Nikon Z6II; Nikkor Z 24–120mm f/4; ISO100, 5s, f11, 97mm photoED: What is the story behind the name “Magpie’n’Moo”? Michele: “Magpie’n’Moo” comes from two nicknames my family gave me. When I was choosing a name for my company, I wanted something personal and meaningful to me. Combining them just felt natural and worked well. In a way, the name reflects how I approach photography, being observant and intentional (the Magpie) while enjoying the process (Moo). photoED: Whose work has influenced yours? Michele: There are so many photographers whose work has influenced me over the years. Platforms like YouTube and Instagram have made their work and process more accessible than ever. I’m so thankful to those who share not just what they create, but also how they create. Michael Shainblum and Nigel Danson have been particularly influential. I’m drawn to how they use light, composition, and timing to capture a scene and guide the viewer’s eye. Closer to home, Kurt Wang has had a big impact on my moon photography. His approach to planning and chasing moon alignments pushed me to explore that side of photography more deeply. ONE COLOUR, DOWN • Vatican Museum, Vatican City • Shot with: Nikon Z5II; Nikkor Z 24–120mm f/4; ISO100, 1s, f16, 27mm photoED: What makes a good photograph? Michele: I try to take images that invite people to slow down. To not just see the scene but also to experience it. When a photograph stays with me or makes me feel something, that’s what makes it meaningful and hence a good photo. For me, a good photograph is one that evokes a feeling, and makes me pause, even for a brief moment. It doesn’t have to be a grand scene. When emotion and craft align, that’s when an image feels complete. Sometimes it’s simply the way light falls on a scene, or a quiet interaction in nature, or a fleeting banal detail that might otherwise go unnoticed. HALF IN THE CLOUDS • Mist over the Ko'olau mountain ridge after the rain, Oahu • Shot with: Nikon Z5II; Nikkor Z 24–120mm f/4; ISO125, 1/125s, f9, 83mm photoED: How has working in photography influenced you personally? Michele: About seven years ago, I was diagnosed with major depressive disorder and photography became a way for me to focus my attention, quiet my mind, slow down, and be present in the moment. It also changed how I see things around me. This shift in perspective has stayed with me, both in photography and in everyday life. I’m in a much better place now, and photography has been a meaningful part of that journey. Photography has also introduced me to a very warm and welcoming community here in Toronto. Being able to connect with others who share the same passion, learn from one another, and support each other has been incredibly meaningful. It’s something I value just as much as the images I create. EXACTLY ONCE • Moon alignment of a full moon with the tip of the CN Tower. Toronto. • Shot with: Nikon Z5II, Nikkor Z 180-600mm f5.6-6.3 VR, ISO2000, 1/15s, f1, 430mm photoED: What has been your favourite or most personally impactful photography adventure? Michele: I don’t have one moment, but many, chasing moon alignments. What draws me to this practice is the combination of planning and unpredictability. I can spend hours scouting locations, planning and plotting the alignment of the moon for an image, visualizing the shot, but when the time comes, I still have to adapt. Changing light, wind, and other shifting conditions affect the very small window of time possible to document the sky to match my vision. This process has taught me patience, discipline, and the importance of being present. It has pushed me to accept that not every attempt will work out. It also connects back to why I started photography in the first place. I have a specific focus, something to work toward, and later, something to be proud of. When everything comes together, the planning, the timing, the execution, it’s rewarding in a way that goes beyond just a great photo. photoED: Tell us about your hardest or most challenging day as a photographer. What keeps you going on a hard day? Michele: My approach to a hard day, not just in photography, but in life, is very different now than it was seven years ago. I have learned to recognize when I’m being triggered by a difficult situation. Now, when something goes wrong — weather, missed light, equipment issues, travel stress, changed plans — I pause and ask myself, “What’s the worst realistic outcome here, and how can I handle it?” Walking myself slowly through a scenario reminds me that any situation is manageable and not as overwhelming as it first feels. What once would have felt like a ruined day now feels like something to adapt to. What keeps me going is focusing on the next small step instead of the whole problem at once. Sometimes that means adjusting the plan, trying a different composition, shifting locations, communicating differently, or simply accepting that not every day is meant to produce a great image. Staying calm, flexible, and solution-oriented is just as important as any camera skill. ABLAZE • Sunrise over the Toronto skyline. • Shot with: Nikon Z5II; Nikkor Z 24–120mm f/4; ISO100, 104s, f11 40mm photoED: Where do you hope photography will take you in the future? Michele: I’d like to continue exploring new locations, but also spend more time sharing what I’ve learned, whether through teaching, workshops, or engaging with the photography community. A lot of my own growth has come from others who were willing to share their knowledge, and I want to give that back. That’s part of what led me to start a project I call Field Notes by Michele. It’s a series of visual essays built around observation. Through this project, I share my own images, and also hopefully present a new way of seeing that encourages others to join me in slowing down and connecting more with what’s in front of them. At the end of the day, I hope photography continues to challenge me and keep me curious. photoED: What advice do you have for photographers just getting started? Michele: Start with learning “to see.” Time spent simply paying attention to light and how it moves through a scene can change how your images materialize. Study photos you’re drawn to and try to understand why they work for you. That process helped me find my own footing. Most importantly, get out and shoot as much as you can. Don’t be afraid to make mistakes. That’s where a lot of the learning happens. Lastly, be patient. Over time, as you keep practising and refining your approach, your own style will start to take shape. GOLDEN HOUR GLOW • Sunset glow over the tulip fields in Niagara-on-the-Lake, ON • Shot with: Nikon Z5II; Nikkor Z 24–120mm; ISO400, 1/40, f18, 120mm photoED: What are your top travel tips or hacks for travelling with photography equipment? Michele: For me, travelling with camera gear is all about balancing preparation with flexibility, having a plan, but staying open to what unfolds. These days I travel pretty light, one camera body, one or two lenses, extra batteries, a charger, and SD cards. Less gear means less stress. Pack lighter than you think you need to I had to get over that feeling of “if I don’t bring it, I’ll wish I had.” In the past, I packed everything, but usually only ended up using one camera body and one lens for most of the trip — typically my Nikkor Z 24–120mm f/4 S. Do your homework before you go I like to think ahead about key locations and the kinds of images I want to make. I’ll use Google Maps to check access, parking (if I’m renting a car), and whether or not an area feels straightforward to navigate — especially if I’m arriving in the dark for a sunrise or leaving after sunset. I’ll also look at photos others have taken, not to copy them, but to understand the location and think about how I’d approach it differently. If you’re travelling with family, simplify even more When I’m with family who aren’t photographers, I’m more selective about when and where I shoot. I want to be present and enjoy the trip with them too. That usually means planning a bit more in advance so I’m not figuring things out during the trip. Tripod depends on the trip If I’m going somewhere nature-focused, I’ll bring a tripod. In cities, especially if I’m walking a lot, I leave it behind to keep things light. Double check the basics and the details Batteries charged, memory cards packed, settings checked. It sounds obvious, but those details matter. I also keep a couple of Zeiss lens wipes with me. Keep your phone easy to access I keep my iPhone on a lanyard. I use it constantly for behind-the-scenes clips and planning tools like long exposure calculator apps. Having it easily accessible makes a bigger difference than people think. LAYERS OF AUTUMN • Rainbow Falls, Watkins Glen, New York • Shot with: Nikon Z6II; Nikkor Z–120mm f/4 ; ISO250, 1/8s, f13, 48mm GEAR UP: What camera and equipment do you most use now? What’s your favourite lens? Tell us about your experience using Nikon products. Michele: I shoot with the Nikon Z 6II and the Nikon Z 5II mirrorless cameras. Both have been very reliable for the way I like to work, whether I’m shooting handheld or on a tripod. The in-body image stabilization feature is amazing. This is especially useful when I’m travelling, as it allows me to shoot handheld in situations where a tripod isn’t always practical, such as in busy city environments. As I often work in low-light conditions (early mornings, sunsets, and night scenes) the dynamic range in these cameras is excellent, giving me greater flexibility working with changing light. The cameras are lightweight and fit my smallish hands comfortably, which makes a big difference during longer sessions. I really appreciate how natural the ergonomics feel so I can adjust settings quickly as needed. My favorite go-to lens is the Nikkor Z 24–120mm f/4 S. It’s on my camera about 95% of the time and has become my workhorse, especially when I’m on the road. It’s incredibly sharp and versatile, without the need to constantly switch lenses. I’ve also had the chance to shoot with the Nikkor Z 180–600mm f/5.6–6.3 VR and love it. The reach opens up a lot of creative possibilities, especially for compression and moon alignments, so it’s definitely a lens I’m hoping to add to my kit. Check out all Michele Thompson's favourite Nikon gear, HERE. Michele Thompson See more of Michele’s work, HERE.

Guided by the notion that North Koreans are residing in a "dream-state," where the truth is not lived but imposed by those in power, Nathalie Daoust's anonymous forms wander through the landscape. Nathalie Daoust's photographs reflect a love for eclectic places and a wild, inexhaustible sense of curiosity. Exploring, experiencing, and documenting rarely visited landscapes and carefully hidden places, she has spent the last decade producing voyeuristic insights into otherwise veiled existences. Nathalie studied the technical aspects of photography at the Cégep du Vieux Montréal. Since, she has been travelling the globe seeking to translate her experiences into photography-based artworks. She spent two years experimenting and living in the Carlton Arms Hotel in New York, which led her further abroad to explore Tokyo’s red light district, Brazilian brothels, and Swiss naturists in the Alps. Nathalie’s project, Korean Dreams (2016) is a complex series of 25, 50 × 70 cm prints that reflect the mysterious world of North Korea. “I was working on a photo documentary in China about North Korean women living in hiding and working in the sex industry. I wanted to better understand why these women would rather live in such conditions in China than remain in their own country with their friends and family.” Nathalie’s images captured in North Korea reveal a country that seems to exist outside of time, as a carefully choreographed mirage. She has spent much of her career exploring the idea of fantasy: the hidden desires and urges that compel people to dream, to dress up, to move beyond the bounds of convention. With Korean Dreams, she is exploring this escapist impulse not as an individual choice, but as a way of life forced upon an entire nation. Most foreigners associate North Korea, shrouded by fanatical isolationism, only with the hallmarks of its repressive regime – kidnapping, torture, and forced labour camps. Tourist experiences are carefully crafted to countermand these impressions. Accompanied by guides at all times, and adhering to the rigid, pre-approved travel program, visitors get a highly selective view of the country as they are paraded past cultural landmarks such as theatres, schools, and music halls, meant to create the illusion of a perfect society. The difficulty of reconciling systemic violence and repression with this shiny world led Nathalie to focus on the spaces that exist on the edge of the “tourist zone.” By shooting furtively while travelling between destinations, she was able to capture an alternative narrative. Guided by the notion that North Koreans are residing in a “dream-state,” where truth is not lived but imposed by those in power, her anonymous forms wander through the landscape. From civilians bicycling against an urban backdrop, to military personnel marching stridently in line and schoolchildren staring pensively out of the frame, these figures seem to exist suspended in an ambiguous, timeless dimension. Playing with the line between fiction and reality, Nathalie exposes an indeterminate space where “truth” and “lies” are interchangeable. Nathalie’s multi-step development process is integral in this series to the interplay between fiction and reality. In the darkroom she reconstructs a forgotten past and an unknown present. The images were taken on 35mm black and white film and have been obscured in her unique photographic process. She creates a “negative” by cutting out her selected frame from its contact sheet and peeling off the back of the photo paper. The breakdown of the original negative film has produced final images that appear indistinct and somewhat ghostlike. As the layers of distance from the original film are removed, a sense of detachment between the photographer and her subjects is revealed. Nathalie’s darkroom method also mimics the way information is transferred in North Korea: it is stifled until the truth is lost in the process. The resultant images speak to North Korean society, of missing information and truth concealed. daoustnathalie.com Find this story + more in our CANADIANS ABROAD - ISSUE #53 Enjoyed this free read? Consider supporting us! We would love to continue producing great content for you to enjoy! JOIN US AS A PATRON • SUBSCRIBE FOR PRINT DELIVERY • READ our digital editions

With more than 20+ years of photography experience, Vancouver based photographer Dina Goldstein devotes herself to creating meaningful images with a distinctive, individual, and artistic point of view. From her twenties to her early thirties, Goldstein photographed non-stop in differing capacities. She travelled to war-torn areas. She worked as a staff photographer on a Vancouver weekly newspaper and began concentrating on editorial portraiture. She shot images for many Canadian, American, and European newspapers and magazines. She photographed commercial projects with advertising agencies in Vancouver and collaborated with art directors internationally. Storytelling has always been central to Goldstein’s work. As a documentary photographer, Goldstein created and shared a variety of stories such as Palestinians in Gaza, gamblers at the racetrack in Vancouver, East Indian blueberry farmers in British Columbia, show dogs, bodybuilders at state championships, and teenagers dirty dancing at a bar mitzvah. Influenced by the 1998 exhibit Pop Surrealism at the Aldrich Contemporary Art Museum in Ridgefield, Connecticut, Goldstein expanded her visual language to include narratives, symbolism, dark humour, and subversive messaging. With this new vocabulary, her work deepened. She analyzed the human condition and interpreted new and cliched notions of beauty, gender, sex, and religion through the lens of pop culture, which concerns itself with the ordinary and superficial, and surrealism, which mines dreams and the unconscious. Fallen Princesses Goldstein’s success in the commercial realm afforded her the time to experiment with her own ideas. With the birth of her first child at 35, Goldstein began to explore subjects and concepts that were more personal to her. The shift from commercial to fine art photography came about in 2007. Goldstein’s daughter, three years old at the time, had discovered Disney princesses at the same time that Goldstein’s mother was dealing with breast cancer. Influenced by these two events, she began to compose the concepts for a project called Fallen Princesses: failed dreams, obesity, addiction, cancer, the extinction of indigenous cultures, pollution, war, and the fallacy of chasing eternal youth. Each image was created with particular attention to makeup, costume, and location. The project took two years to complete, culminating in her first solo exhibition in 2009. Her second project was more ambitious and was shot on a constructed set. In the Dollhouse is a 10-piece, sequential narrative that takes place in a life-sized dollhouse. A video that documents the making of the project accompanies the images. In The Dollhouse, Goldstein tackles one of the most powerful symbols of Western culture: Barbie, the idealized woman. According to Goldstein, more than any other object, Barbie represents the concept that beauty is power and necessary to attain happiness. In The Dollhouse In Goldstein’s images, Ken, Barbie’s handsome but emasculated partner, expresses his individuality and the photographer shows that beauty can be as cheap and plastic as the dolls themselves. Both projects, Fallen Princesses and In the Dollhouse found an international audience, inspiring debate concerning standards of beauty, the complexity of marriage and the importance of authenticity. Goldstein began to receive awards, including a residency in India. In 2013, the year she celebrated 20 years as a photographer, Goldstein opened her studio XX in Vancouver. She decided to focus completely on producing her independent large-scale projects and specifically her next series, Gods of Suburbia. She received her first Canada Council grant to help support this massive initiative. This series, more complex and contemplative than her previous work, is a critical exploration of established and fringe religions. “Gods of Suburbia offers an iconoclastic interpretation of how ancient belief systems fit with technology, science, and secularism, the three main pillars of modernity,” says Goldstein. Gods of Suburbia Because her process is multi-faceted and represents a deeply personal and professional commitment, Goldstein takes steps to ensure that her ideas, initially instinctual and inspired from a subconscious place, can be developed into a narrative that relays as much information as a book or movie. She shares her ideas with her husband, a filmmaker, or a trusted friend, and receives constructive criticism with openness. She does extensive research. Then she develops rough concepts for each piece and the overall framework of the project. Since she usually works with a small budget, she does a lot of street casting or works with local actors and performers. Sometimes she loosely draws out her concepts with a storyboard artist, as she did for In the Dollhouse. She assembles her team: makeup and hair artists, costumers, and prop builders. Many of the costumes and props are fabricated by local craftspeople. She methodically scouts locations, and has studio interns to handle the red tape that usually ensues. She works with photography and art students, as well as volunteers from all walks of life. To prepare for the shoots, she focuses on details such as the furniture and knick-knacks that play an important role in the telling of the story. Prior to the shoot, Goldstein meets with the actors to discuss characters and to give them some clear direction. She usually shoots two images over a weekend. She reviews the shoot and the image files and makes decisions for later adjustments. She may have to re-shoot or add an element that will help to shape and complete the final image. She has a dynamic and talented team that, despite her limited budgets and huge ambitions, enables her to fulfill her goals. To be successful, Goldstein advises others to learn to work with limited resources, to have a clear vision of what they want, to educate themselves about their subjects, and to make sure that everything is in place before embarking on a project. Pleased with the recognition that she receives, Goldstein comments, “I attempt to bring attention and to inspire insight to the human condition. I am thrilled that my visual storytelling has been recognized for its ‘metaphorical and ironical messages’ and in turn has sparked much conversation and written commentary from academics, editors, and bloggers around the world. The work welcomes interpretation and discussion.” Goldstein creates images that challenge people to look closely and consider what they know, to question and perhaps reconsider what seems familiar in many aspects of their culture and daily lives. To see more work by Dina Goldstein, check out her website dinagoldstein.com Did you enjoy this FREE read? Consider supporting us! We'd love your support to continue producing great content for you to enjoy! • JOIN US AS A PATRON • SUBSCRIBE FOR PRINT DELIVERY Follow us on Patreon, Facebook, and Instagram, and sign up for our e-newsletter to keep up with all our adventures!

The magazine for people who love photography with purpose. From emerging artists to established photographers, we share photography stories in a brand new light FOR PHOTOGRAPHY LOVERS Discover stories Up FOR PHOTOGRAPHERS Submit your work Up CURRENT EDITION HOME VS AWAY - ISSUE #77 “Tourists don't know where they've been, travellers don't know where they're going.” — Paul Theroux Home vs Away: The land of in-between Artists featured in this edition challenge boundaries and investigate ambiguous middle grounds. Featuring: Martine Côté’s LIGHTHOUSES guide us towards home, by Alan Bulley Antarctica: The Frozen Muse. Two NZ photographers one unique place. The first daguerreotypes created on the continent. Western Consumption mordançage road trip images question “progress” by J. Jason Lazarus Cameras For Girls, Photojournalism training for women in Africa by Sherry Chunqing Liu & much, much more. BUY $25. 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