Michele Thompson: Paying attention and letting things go
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
See more of Michele’s work, HERE.
