Vernon Chalmers: Phenomenology in Flight

A Philosophical Inquiry into Birds in Flight Photography, Perception, and Presence

Grey Heron in Flight : Above the Diep River, Woodbridge Island

“...the real is coherent and probable because it is real, not real because it is coherent...” ― Maurice Merleau-Ponty 

Abstract

"This monograph explores Phenomenology in Flight as both a conceptual and practical framework in the photography of South African photographer Vernon Chalmers. Known primarily for his birds-in-flight imagery, Chalmers has articulated through his practice and reflections a profound engagement with perception, temporality, embodiment, and relational being. This work positions Chalmers within the broader philosophical lineage of phenomenology - from Husserl’s intentionality to Merleau-Ponty’s embodiment and Heidegger’s disclosure - while examining how his photographic approach renders these ideas visible. Through an analysis of his texts (Existential Birds in Flight Photography, Colour, Presence, and the Photographic Breath, and The Returning Flights of a Peregrine Falcon), the treatise argues that Chalmers’s photography enacts a living phenomenology: one that unites seeing, being, and technology into a reflective field of existential presence.

1. Introduction and Motivation

Phenomenology, at its core, is the philosophical study of how things appear to consciousness. Photography, by contrast, is the technological act of capturing how things appear. Between these poles - of consciousness and capture - lies the possibility of a phenomenology of photography. Vernon Chalmers’s photographic practice occupies precisely this intersection. His sustained attention to birds in flight, his reflective writings, and his devotion to the lived experience of photographing have cultivated a body of work that invites philosophical engagement.

Chalmers’s recurring subjects - seabirds, falcons, and gulls moving through coastal air - become vehicles for exploring temporality, presence, and freedom. His project Phenomenology in Flight (a conceptual term synthesizing his approach) captures the ambiguity of perception: the interplay between fleeting motion and fixed frame, subject and perceiver, finitude and transcendence. This study seeks to unfold how Chalmers’s photography not only illustrates but performs phenomenological thinking in visual form.

2. Phenomenology: Philosophical Foundations

Edmund Husserl (1931/2012) inaugurated phenomenology as the rigorous description of experience “as it gives itself” (zu den Sachen selbst). Through the epoché, one suspends habitual assumptions to attend to the structures of consciousness and the intentional correlation between subject (noesis) and object (noema) (Smith, 2003). Husserl’s idea of the lifeworld (Lebenswelt) - the pre-reflective ground of meaning—frames all perception as lived rather than theoretical.

Martin Heidegger (1927/1962) reoriented phenomenology toward ontology. For Heidegger, the question was not merely how phenomena appear but what it means to be. His concept of being-in-the-world emphasizes that Dasein (human existence) is always situated, temporal, and relational. Perception is never detached observation but engagement within a meaningful horizon.

Maurice Merleau-Ponty (1945/2012) further radicalized this turn by asserting the primacy of embodiment. The perceiving subject is not a disembodied intellect but a sensing body - the body as a “vehicle of being in the world.” Vision, for Merleau-Ponty, is not a neutral act but an intertwining of the seer and the seen, an exchange of what he calls “the flesh of the world” (1968).

Phenomenology thus provides three central insights relevant to Chalmers’s work: (1) perception is intentional and directed; (2) the subject is embodied and situated; and (3) being is disclosed through relational experience. Photography, when practiced reflectively, can become a site where these insights are made visible.

Yellow-Billed Duck in Flight : Above the Diep River, Woodbridge Island

3. Photography and Phenomenology

The relationship between phenomenology and photography has long been a topic of aesthetic theory. Roland Barthes (1981) viewed photography as a paradoxical medium that joins presence and absence: each image declares “this has been.” His notion of the punctum - the detail that “pricks” the viewer - evokes the phenomenological moment where perception pierces intentionality, awakening the consciousness of temporality.

Susan Sontag (1977) argued that photography simultaneously participates in and distances us from experience. The act of photographing may anesthetize presence even as it preserves it. Vilém Flusser (2000) conceptualized the camera as an apparatus - a mediating device with its own program that structures how the world is seen.

Phenomenological approaches to photography (Walden, 2019; Batchen, 2004) emphasize how the photograph can disclose rather than merely represent. It does not replicate vision but transforms it, revealing the structure of experience itself. Chalmers’s work exemplifies this disclosure: his camera functions as both perceptual extension and existential mirror.

Birds in Flight with Canon EOS 7D Mark II

4. Vernon Chalmers’s Photographic Oeuvre

Born in South Africa, Vernon Chalmers is an educator, writer, and photographer known for his expertise in Canon camera systems and his passion for coastal wildlife. Yet his writings go far beyond technique. In essays such as Existential Birds in Flight Photography (Chalmers, 2025a), Colour, Presence, and the Photographic Breath (Chalmers, 2025b), and The Returning Flights of a Peregrine Falcon (Chalmers, 2025c), he articulates a reflective, philosophical dimension of photography.

He frames his birds-in-flight practice as a “search for presence within motion,” emphasizing patience, attention, and existential humility. His images are minimalistic - often featuring a solitary bird suspended in vast sky - suggesting both solitude and communion. The camera becomes an instrument of meditation rather than conquest.

Chalmers’s style also resists the sensationalism typical of wildlife imagery. Instead of dramatizing power or predation, he seeks quiet phenomenological intensity: the perceptual resonance of a wing’s arc, the luminous threshold of dawn, or the horizon dissolving into reflection.

Common Starling in Flight : Above Woodbridge Island

5. Temporality, Motion, and the Photographic Fragment

At the heart of Phenomenology in Flight lies the paradox of time. To photograph flight is to arrest movement, to convert dynamic continuity into a frozen instant. Yet Chalmers’s photographs - precisely through their stillness - gesture toward movement’s persistence beyond the frame.

This temporal depth mirrors Husserl’s structure of internal time-consciousness, where each moment is constituted by retention (the just-past), primal impression (the now), and protention (the anticipated) (Husserl, 1931/2012). The captured moment thus contains traces of before and after, embodying what Barthes (1981) called “the return of the dead.”

Chalmers himself writes that each frame “holds a breath of time - neither entirely past nor present” (Chalmers, 2025b). His choice of high shutter speeds paradoxically enhances temporality rather than erasing it: the crispness of feathers mid-beat invites reflection on what movement is - the tension between continuity and stillness.

Phenomenologically, the photograph becomes a temporal index, disclosing how being manifests through time. The bird in flight embodies being-toward-future (Heidegger, 1927/1962), yet the image grounds it in the stillness of being-as-past. The viewer stands in the paradoxical convergence of these modes.

6. Attention, Presence, and the Ethics of Seeing

Chalmers’s approach to wildlife photography is defined by attention rather than pursuit. He describes hours of observation before pressing the shutter - watching light shift, wind rise, and avian behavior unfold (Chalmers, 2025a). This patient attention corresponds to Husserl’s epoché: a bracketing of distractions to let phenomena show themselves.

Merleau-Ponty (1945/2012) argued that perception is an act of faith in the world’s visibility, a letting-be of appearances. Chalmers’s attention is likewise an ethical stance: the bird is not an object but a fellow presence. The photograph is not possession but participation.

In his writings, Chalmers speaks of a “reciprocity of perception,” suggesting that the act of photographing becomes a dialogue between human and non-human being. This relational seeing aligns with eco-phenomenological thought (Abram, 1996; Ingold, 2011), which regards perception as a mutual openness between organism and environment.

By cultivating stillness and empathy, Chalmers enacts what Emmanuel Levinas (1969) might call an ethics of the face - a recognition of otherness that precedes cognition. The bird, even when distant, addresses the photographer through its mere existence.

Birds in Flight with Canon EOS 6D Mark II

7. The Camera as Instrument of Phenomenological Mediation

Chalmers’s technical mastery of autofocus systems and exposure dynamics is well documented, yet his reflections reinterpret these not as control mechanisms but as instruments of attunement. The camera mediates between body and world, extending perception.

Flusser (2000) viewed the apparatus as potentially alienating, reducing the photographer to a functionary within a programmed system. Chalmers resists this determinism: he treats the camera as co-being, part of a lived circuit of perception. The camera’s sensor becomes akin to the eye’s retina, the shutter to a heartbeat - a rhythmic interface between worlds.

Heidegger’s (1954/1977) warning against technology’s enframing (Gestell)—its tendency to reduce beings to resources - is addressed in Chalmers’s practice. Rather than objectifying, he uses the camera to let beings show themselves. He writes that photography should “serve being, not consume it” (Chalmers, 2025a).

The act of aligning focus points with a moving bird requires bodily synchronization - breath, grip, anticipation. This fusion of body and apparatus recalls Merleau-Ponty’s description of the blind man’s cane: it becomes part of his perceptual system. Likewise, Chalmers’s camera becomes an extension of bodily intentionality, not an external tool but a phenomenological organ.

African Oystercatcher in Flight : Diep River, Woodbridge Island

8. Flight as Existential Motif

The motif of flight carries existential and phenomenological weight. It symbolizes freedom, transcendence, and temporality - yet also fragility and finitude. Chalmers’s birds are not allegorical abstractions but concrete beings in motion.

Sartre (1943/1992) defined consciousness as being-for-itself - a dynamic of transcendence beyond facticity. The bird in flight, projecting its own path through open air, embodies such transcendence. But Chalmers balances this with visibility of constraint: the weight of the body, the pull of gravity, the resistance of wind.

In The Returning Flights of a Peregrine Falcon, Chalmers (2025c) recounts a falcon repeatedly visiting his window, “as if returning to a moment that belonged to both of us.” This circularity of motion evokes Heidegger’s idea of dwelling: being at home in movement. The bird’s return is not repetition but re-disclosure - a rhythm of presence.

The phenomenology of flight, then, is not escapism but being-in-movement - the continuous negotiation between freedom and limit. Chalmers’s photographs dwell in this tension: the bird as both transcendent and terrestrial, eternal and ephemeral.

9. Colour, Light, and Aesthetic Atmosphere

Colour and light in Chalmers’s photography are not incidental; they are phenomenological vehicles. His palette - soft silvers, subdued blues, dawn golds - evokes transitional hours of liminality. He calls this the photographic breath (Chalmers, 2025b): a visual interval between darkness and illumination.

For Heidegger (1927/1962), truth (aletheia) is disclosure - letting beings appear in their own light. Chalmers’s use of natural illumination embodies this notion literally. Light is not a means to clarity but the condition of revelation. His compositions often situate the bird against vast, muted horizons, allowing light to articulate space rather than dominate it.

Merleau-Ponty (1968) wrote of colour as “the visibility of visibility itself” - an index of how the world offers itself to sight. Chalmers’s restrained chromatic spectrum enacts this subtlety: colour becomes a mode of presence, not spectacle.

Moreover, his handling of focus and depth creates a phenomenological field: what is sharp draws attention, while what blurs remains as horizon. The image thus mirrors lived perception - never fully transparent, always surrounded by indeterminacy.

10. Critique and Alternatives

A phenomenological reading of Chalmers’s work reveals much, yet also faces limitations.

Photography’s technological mediation complicates phenomenology’s emphasis on direct experience. The digital camera inserts layers of algorithmic processing between world and image. Yet this mediation can itself be phenomenologically significant: it reveals the conditions of appearance in modern perception (Rubinstein & Sluis, 2013).

Alternative frameworks - ecological aesthetics, affect theory, or environmental humanities - could supplement phenomenology. Chalmers’s sensitivity to non-human presence resonates with eco-phenomenology (Abram, 1996) but also with contemporary new materialisms that emphasize agency of nature and matter (Bennett, 2010).

Nevertheless, phenomenology remains apt because it honours what Chalmers’s images do best: they slow perception, invite contemplation, and foreground presence. The photographs become phenomenal events rather than visual data.

Speckled Pigeon in Flight : Above The Diep River, Woodbridge Island

11. Conclusion: Toward a Phenomenology of Ecological Presence

Phenomenology in Flight captures more than birds - it discloses a way of being in the world. Through attentiveness, patience, and existential humility, Vernon Chalmers practices photography as phenomenology: an embodied, relational, temporal art of seeing.

His work reminds us that to photograph is to witness presence, not to conquer it. Each image becomes a trace of mutual encounter between photographer, bird, and light - a triadic relation that mirrors phenomenology’s structure of subject, object, and horizon.

In a time of accelerated imagery and ecological disconnection, Chalmers’s approach re-grounds vision in being. He photographs not to accumulate images but to dwell with the world. His birds - caught between sky and sea, movement and stillness - invite viewers into a similar attentiveness.

Thus, Phenomenology in Flight is not merely a theme but a method: a call to perceive ethically, to let beings appear, and to recognize photography as a practice of existential openness." (Source: ChatGPT 2025)

References

Abram, D. (1996). The spell of the sensuous: Perception and language in a more-than-human world. Pantheon Books.

Barthes, R. (1981). Camera lucida: Reflections on photography. Hill and Wang.

Batchen, G. (2004). Photography’s objects. University of New Mexico Press.

Bennett, J. (2010). Vibrant matter: A political ecology of things. Duke University Press.

Chalmers, V. (2025a, October). Existential birds in flight photography. Vernon Chalmers Photography. https://www.vernonchalmers.photography/2025/10/existential-birds-in-flight-photography.html

Chalmers, V. (2025b, October). Colour, presence, and the photographic breath. Vernon Chalmers Photography. https://www.vernonchalmers.photography/2025/10/colour-presence-and-photographic-breath.html

Chalmers, V. (2025c, October). The returning flights of a peregrine falcon. Vernon Chalmers Photography. https://www.vernonchalmers.photography/2025/10/the-returning-flights-of-peregrine.html

Flusser, V. (2000). Towards a philosophy of photography. Reaktion Books.

Gadamer, H.-G. (1975/2013). Truth and method (Rev. ed., J. Weinsheimer & D. G. Marshall, Trans.). Bloomsbury.

Heidegger, M. (1927/1962). Being and time (J. Macquarrie & E. Robinson, Trans.). Harper & Row.

Heidegger, M. (1954/1977). The question concerning technology and other essays (W. Lovitt, Trans.). Harper & Row.

Husserl, E. (1931/2012). Ideas: General introduction to pure phenomenology (W. R. Boyce Gibson, Trans.). Routledge.

Ingold, T. (2011). Being alive: Essays on movement, knowledge and description. Routledge.

Levinas, E. (1969). Totality and infinity (A. Lingis, Trans.). Duquesne University Press.

Merleau-Ponty, M. (1945/2012). Phenomenology of perception (D. A. Landes, Trans.). Routledge.

Merleau-Ponty, M. (1968). The visible and the invisible (C. Lefort, Ed.; A. Lingis, Trans.). Northwestern University Press.

Rubinstein, D., & Sluis, K. (2013). The digital image in photographic culture: Algorithmic photography and the crisis of representation. The Photographic Image in Digital Culture (2nd ed., pp. 22–40). Routledge.

Sartre, J.-P. (1943/1992). Being and nothingness (H. E. Barnes, Trans.). Washington Square Press.

Smith, D. W. (2003). Phenomenology. In E. N. Zalta (Ed.), The Stanford encyclopedia of philosophy (Winter 2025 ed.). Stanford University.

Sontag, S. (1977). On photography. Farrar, Straus & Giroux.

Walden, S. (2019). Photography and phenomenology: The thick description of the visual. Routledge.

Images: Copyright Vernon Chalmers Photography

Existential Philosophy in Vernon Chalmers’ Photography

Vernon Chalmers’ photography exemplifies the deep interplay between existential philosophy and artistic practice.

Grey Heron in Flight : Over The Diep River, Woodbridge Island

Abstract

"Vernon Chalmers’ photographic philosophy and practice are deeply rooted in existential and phenomenological traditions that focus on human perception, being, and the lived experience of presence within the world. This essay explores how existential philosophy - particularly through thinkers such as Søren Kierkegaard, Martin Heidegger, Jean-Paul Sartre, and Maurice Merleau-Ponty - has influenced Chalmers’ approach to photography. Through an interpretive framework, this discussion examines how Chalmers integrates phenomenological awareness, authenticity, and the notion of becoming into his visual representations of nature and birds in flight. His work serves as a visual meditation on existential themes, rendering the act of photography not merely as documentation but as a mode of being and understanding.

Existential Philosophy and the Concept of Presence

Existential philosophy, as developed by Kierkegaard, Heidegger, and Sartre, emphasizes the individual’s direct engagement with existence. Chalmers’ photography echoes this through his commitment to capturing fleeting moments that reveal a deep presence in the natural world. His practice aligns with Heidegger’s concept of Dasein - being-in-the-world - where existence is not an abstraction but an immersion in the everyday reality of life (Heidegger, 1962). For Chalmers, photographing birds in flight becomes an existential act that embodies awareness, temporality, and attunement to the world’s unfolding.

In this context, Chalmers’ imagery is not about aesthetic perfection but about the encounter itself. His subjects - birds gliding through the air, coastal light reflecting on water - become metaphors for transience and freedom. These photographs evoke Sartre’s (1943) assertion that existence precedes essence: meaning is not given but created through the individual’s active participation in the world. Chalmers’ lens, therefore, is not a tool of observation but of engagement, making his art both existential and phenomenological in nature.

Phenomenology and the Act of Seeing

Merleau-Ponty’s Phenomenology of Perception (1962) offers a profound resonance with Chalmers’ photographic vision. Merleau-Ponty argued that perception is not a detached cognitive act but an embodied experience, one that situates the perceiver within the visible world. Chalmers’ work mirrors this by emphasizing the sensory and embodied nature of seeing. His photographic process often involves extended immersion in the environment - waiting, observing, and responding to subtle shifts in light and motion. This approach transforms photography into a form of eidetic reduction, where Chalmers seeks the essence of phenomena through mindful observation.

Moreover, Chalmers’ reflective writings on photography often invoke the idea of being present with one’s subject. This aligns with Merleau-Ponty’s notion of the “flesh of the world,” where the photographer and the environment are intertwined in a reciprocal relationship. The camera becomes an extension of perception - a bridge between self and world - allowing the photographer to participate in, rather than dominate, the unfolding scene.

Authenticity, Freedom, and the Self

Chalmers’ existential photography also explores the concept of authenticity, a central concern in existential philosophy. Kierkegaard (1849) described authenticity as living in accordance with one’s true self, while Heidegger (1962) expanded this idea through the notion of “authentic being-toward-death,” where awareness of mortality deepens one’s engagement with life. In photographing transient natural moments - such as the brief arc of a bird’s flight - Chalmers embraces the impermanence and fragility of existence.

Sartre’s (1943) concept of radical freedom also finds expression in Chalmers’ work. Photography, for Chalmers, becomes an act of choice - an existential assertion of meaning-making through each composition. Every photograph represents a moment where the photographer assumes responsibility for interpretation and expression, thus transforming the ordinary into a site of existential reflection.

Nature, Temporality, and Existential Awareness

Chalmers’ recurring engagement with nature - especially coastal landscapes and avian subjects - illustrates an existential meditation on time and impermanence. Drawing on Heidegger’s (1971) reflections on art and dwelling, Chalmers’ work evokes a sense of “being at home in the world,” a reconciliation between human consciousness and natural temporality. The birds in flight, often suspended against vast horizons, symbolize the intersection between freedom and finitude. Each image becomes a momentary suspension of time, a visual articulation of what Kierkegaard called “the instant,” the point where eternity touches temporality.

In this light, Chalmers’ photography resonates with the existential imperative to live authentically in the face of transience. His images function as existential artefacts - reminders of the beauty and fragility of being. By integrating patience, attentiveness, and empathy into his practice, Chalmers redefines photographic mastery as an ethical and existential discipline.

Photography as a Mode of Being

For Chalmers, photography transcends representation. It is a way of being-in-the-world that synthesizes perception, emotion, and thought. The process of capturing an image becomes a philosophical act - a dialogue between consciousness and the world. This idea parallels Merleau-Ponty’s (1964) vision of art as a “revelation of being,” where the artist discloses the invisible dimensions of experience through visible forms.

Chalmers’ methodology integrates technical precision with meditative awareness. He emphasizes understanding camera mechanics and optical systems not merely as technical exercises but as pathways to deeper perceptual insight. In doing so, his work bridges the gap between phenomenological reflection and empirical observation, demonstrating that existential awareness can coexist with technological mastery.

After Sunset : Milnerton From Woodbridge Island, Cape Town

The Existential Photographer as Thinker and Observer

In his writings and teaching, Chalmers often encourages photographers to engage reflectively with their craft - to move beyond superficial aesthetics and explore photography as a means of self-understanding. This pedagogical stance echoes existential philosophers’ insistence on self-examination and authenticity. Chalmers’ photographic philosophy invites individuals to confront their own perceptual and emotional responses to the world, thereby turning photography into an existential practice of reflection and growth.

Moreover, his approach can be interpreted as an extension of phenomenological reduction: stripping away preconceptions to encounter phenomena directly. By fostering this disciplined attentiveness, Chalmers aligns with Husserl’s (1931) call to return “to the things themselves.” Each photograph becomes an invitation to rediscover the world’s immediacy - to perceive without judgment, to see without imposing, and to be present without possession.

Existential Aesthetics and the Search for Meaning

At the heart of Chalmers’ existential aesthetic lies the question of meaning. For existential philosophers, meaning is not discovered but created through engagement and interpretation. Chalmers’ visual narratives mirror this process, inviting the viewer into a dialogue with uncertainty and wonder. His photographs often resist closure, leaving space for contemplation and ambiguity. This open-endedness reflects the existential condition itself - an ongoing process of becoming rather than a final state of being.

Through his photography, Chalmers illustrates how art can serve as a bridge between individual consciousness and universal existence. By transforming perception into presence, and observation into insight, his images challenge viewers to reconsider their relationship with the world and with themselves. In this way, Chalmers’ art becomes both a personal meditation and a philosophical offering - a testament to the transformative potential of existential awareness.

Vernon Chalmers Existential Motivation

Conclusion

Vernon Chalmers’ photography exemplifies the deep interplay between existential philosophy and artistic practice. Grounded in the phenomenological tradition, his work embodies principles of authenticity, awareness, and freedom. Through his sustained engagement with nature and the act of perception, Chalmers transforms photography into a form of existential reflection - a means of exploring what it means to be, to see, and to dwell within the world.

Ultimately, Chalmers’ photographic vision affirms that art, like philosophy, is a quest for meaning. By aligning his creative process with the existential imperative to live deliberately and perceive authentically, Chalmers invites both photographer and viewer into a shared journey of awareness. His images become portals into the existential landscape of being - illuminating not only what is seen but what it means to see." (Source: ChatGPT 2025)

References

Heidegger, M. (1962). Being and Time (J. Macquarrie & E. Robinson, Trans.). Harper & Row.

Heidegger, M. (1971). Poetry, Language, Thought (A. Hofstadter, Trans.). Harper & Row.

Husserl, E. (1931). Ideas: General Introduction to Pure Phenomenology (W. R. Boyce Gibson, Trans.). George Allen & Unwin.

Kierkegaard, S. (1849). The Sickness Unto Death. C.A. Reitzel.

Merleau-Ponty, M. (1962). Phenomenology of Perception (C. Smith, Trans.). Routledge & Kegan Paul.

Merleau-Ponty, M. (1964). The Primacy of Perception. Northwestern University Press.

Sartre, J.-P. (1943). Being and Nothingness (H. E. Barnes, Trans.). Philosophical Library

Image Copyright: Vernon Chalmers Photography

Birds and Butterfly with Canon EOS 7D Mark II

Mainly birding with the ever-green Canon EOS 7D Mark II / EF 400mm f/5.6L USM Lens

Yellow-Billed Duck in Flight : Above Woodbridge Island

"Yellow-billed-duck: against the mystiblue of Table Mountain - between wingbeat and wind, a reassurance towards a focussed path of presence." - Vernon Chalmers

Shooting at 400mm with the Canon EOS 7D Mark II (APS-C) body

Some blue sky and a moderate south-easterly wind with rain forecasted for later - that was my conditional challenge, but I knew from experience that this pairing would deliver even with full cloud cover. Again, I went for my regular photography hike, down the Diep River, Woodbridge Island, right up to the edge of the Table Bay Nature Reserve.

I just feel so confident with this body and lens in my hands - this is what I wrote on my profile on Birdlife South Africa's Facebook Group about using the Canon EF 400mm f/5/6L USM lens:

“Fifteen years of birding, flowers and butterflies with the same lens - yet its presence and functionality is never the same. The Canon EF 400 f/5.6L USM doesn’t just render 'birds in flight', frame after frame; it renders my own becoming." - Vernon Chalmers

 Along the way I had the usual birds and was very exiting to see the terns back - that could potentially mean they are here after spotting some fish - or perhaps they just came around investigating. Seeing that we went through an extensive period of declining birdlife due to the polluted river.  I also noticed, on the other side of the Diep River, the most Egyptian geese I have ever seen in one morning. A bonus was the many grey herons perched and in-flight along the Diep River and the Table Bay reserve.

“Each frame was less a capture than a recognition - a phenomenological pause where the heron’s stillness and the Cape waver’s resilience mirrored my own existential inquiry.” - Vernon Chalmers

Birds in Flight / Perched Birds (Butterfly List

• Yellow-Billed Duck in Flight (Top)
• Common Starling in Flight
• Grey Heron in Flight
• African oystercatcher in Flight
• Water Thick-Knee in Flight
• Cape Weaver Perched
• Southern Mask Weaver Perched
• Grey Heron Perched
• Grey Heron Juvenile
• Cabbage White butterfly Perched

Common Starling in Flight : Above the Diep River, Woodbridge Island

Grey Heron in Flight : Table Bay Nature Reserve Woodbridge Island

African Oystercatcher in Flight : Table Bay Nature Reserve, Woodbridge Island

Water Thick-Knee in Flight : Diep River Woodbridge Island

Cape Weaver : Table Bay Nature Reserve Woodbridge Island

Southern Masked Weaver : Table Bay Nature Reserve, Woodbridge Island

Grey Heron Just Being : Diep River, Woodbridge Island

Grey Heron Juvenile : Diep River, Woodbridge Island

Cabbage White Butterfly in Flight : Diep River Woodbridge Island

Location: Diep River, Woodbridge Island, Table Bay Nature Reserve

Canon Camera / Lens for Bird Photography

• Canon EOS 7D Mark II (APS-C)
• Canon EF 400mm f/5.6L USM Lens
• SanDisk Extreme PRO 64GB 200 MB/s

Exposure / Focus Settings for Bird Photography

• Autofocus On
• Manual Mode
• Aperture f/5.6
• Auto ISO 250 - 1250
• Shutter Speeds 1/2500s
• No Image Stabilisation
• Handheld

Image Post-Processing: Lightroom Classic (Ver 14.5)

• Minor Adjustments (Crop / Exposure / Contrast)
• Noise and Spot Removal
• RAW to JPEG Conversion
  
  

Birds and Butterfly with Canon EOS 6D Mark II

All Images: Copyright Vernon Chalmers Photography

Colour, Light and the Aesthetics of Awareness

Vernon Chalmers’ photography stands as a luminous testament to the union of art, philosophy, and lived experience

After Sunset : Milnerton Beach, Cape Town

Introduction: The Photographer as Philosopher

"Photography, at its most profound level, is not merely an act of representation but an act of being. It is both a gesture of observation and a declaration of existence — a moment in which the world and the observer converge in a fleeting yet infinite intimacy. Vernon Chalmers’ photography occupies precisely this space: between seeing and being, capturing and experiencing, art and awareness. His practice, situated in the luminous coastal environments of South Africa, transforms visual encounters into existential meditations, where the act of photographing becomes inseparable from the act of living attentively.

To reflect on Chalmers’ photography is to explore a deeply phenomenological journey — one where perception is not simply a mechanical response to stimuli but an opening toward the world. His work is grounded in presence and the aesthetic of encounter: the meeting between the self and the living world, mediated through the camera yet unconfined by it. The bird in mid-flight, the quiet rhythm of coastal light, and the subtle shifting of colour across water — these are not just subjects for Chalmers; they are events of consciousness that affirm his being-in-the-world.

The Camera as Consciousness: Technology and Presence

In an era where digital technology often distances us from experience, Chalmers’ practice exemplifies how the camera can serve as a medium of presence rather than distraction. His relationship with photographic equipment — from the Canon EOS 7D Mark II to the EOS R6 series — is one of intimate familiarity, but never fetishization. The camera is not an idol of precision but a companion of awareness.

This philosophy reflects a nuanced understanding of the technological as existential. The camera extends perception; it translates the fleeting movements of light into a language of stillness. Yet, for Chalmers, this translation is never mechanical. It is guided by intuition — that “inner lens” through which meaning emerges. The photograph is thus not the product of automation but of consciousness extended through technology.

The disciplined technical mastery that underpins his work — his attention to exposure, autofocus tracking, and compositional balance — is always in service of something larger: the pursuit of attentive seeing. In this synthesis of technique and presence, Chalmers embodies the ideal of the photographer as both craftsman and philosopher.

Colour, Light, and the Aesthetics of Awareness

Vernon Chalmers’ use of colour reveals another layer of his reflective vision. His palette — often subtle, balanced, and resonant — mirrors the tonal quietude of early morning or late afternoon light. Colour here is not decorative but ontological: it expresses the being of the world as experienced in lived perception.

To encounter one of his coastal photographs is to enter a chromatic atmosphere, where blues dissolve into golds, and shadows breathe rather than obscure. The reflective surface of water becomes both mirror and metaphor — a symbol of consciousness reflecting upon itself. The harmony between light and tone evokes what phenomenologists called intentionality: the directedness of consciousness toward its object. Every hue becomes a note in the symphony of perception.

Chalmers’ sensitivity to natural colour also gestures toward a deeper ethical awareness. His work invites viewers to rediscover the quiet dignity of the environment — not through dramatization, but through attentive witnessing. In this sense, his colour photography is not merely aesthetic but contemplative: an invitation to see the world as it appears when one truly attends.

Common Waxbill in the Table Bay Nature Reserve, Woodbridge Island

Photography as Existential Practice

At the foundation of Vernon Chalmers’ photographic philosophy lies the conviction that photography is not only an art form but an existential practice  - a way of orienting the self toward meaning. To photograph is to engage in an act of self-world relation; it is to affirm that perception itself can be an ethical stance toward life.

This understanding situates Chalmers’ work within a broader lineage of existential aesthetics. Like the existential thinkers who sought authenticity through lived experience, Chalmers finds in photography a practice of grounding — a way to inhabit the present without abstraction. The act of photographing, especially in nature, becomes an affirmation of presence as being. It is a quiet resistance against alienation and distraction.

Every image, then, becomes a trace of lived mindfulness. Whether in the flight of a bird or the gentle movement of water, Chalmers’ photography gestures toward what Søren Kierkegaard called the “subjective truth” of existence — truth not as proposition but as being-experienced. The photograph becomes a mirror for the photographer’s own awareness, a visual meditation on what it means to be alive.

The Reflective Dialogue: Between Self and World

What distinguishes Vernon Chalmers’ body of work is its dialogical quality — the sense that every photograph is part of an ongoing conversation between the self and the world. This dialogue is not about mastery but reciprocity. The photographer listens as much as he sees.

In moments of solitude along the coastline, the boundary between observer and observed begins to blur. The landscape gazes back. The bird’s flight becomes an echo of the photographer’s own breath. The reflective surface of the sea becomes a metaphor for consciousness — simultaneously receptive and expressive. In such encounters, photography becomes a phenomenology of presence: the direct, embodied experience of the world as meaningful.

This reflective dialogue extends beyond the act of image-making. Through teaching, writing, and sharing, Chalmers transforms photography into a community of awareness. His educational work — in guiding others through both the technical and philosophical dimensions of photography — embodies the belief that to see more deeply is also to live more deeply. Thus, his practice becomes both personal and communal: an art of seeing that nurtures others’ capacity to see.

Speckled Pigeon Flying Over the Diep River, Woodbridge Island

Time, Memory, and the Image as Trace

In Chalmers’ photography, time is both subject and participant. Every photograph contains the paradox of temporal suspension: it captures a moment, yet the moment immediately recedes. What remains is a trace — an imprint of existence, both visual and emotional.

This temporal dimension infuses his work with poignancy. The sea’s shifting surface, the fading horizon, the vanishing bird — all become emblems of impermanence. Yet rather than lamenting this transience, Chalmers embraces it. His photography affirms that meaning resides not in permanence but in awareness. The camera, paradoxically, both freezes and liberates time: it allows the moment to speak in its own silent continuity.

In this sense, each photograph becomes a phenomenological relic — not a possession, but a reminder. It reminds both artist and viewer that life unfolds only in the present, and that to see is already to participate in time’s fragile unfolding.

Toward a Philosophy of the Ordinary

Vernon Chalmers’ photography invites a revaluation of the ordinary. His subjects — water, sky, birds, light — are not extraordinary in themselves, yet through his attentive lens they become portals to meaning. This elevation of the everyday reflects a deeply existential insight: that transcendence is not elsewhere, but here.

In choosing to photograph the ordinary, Chalmers challenges the modern obsession with spectacle. His work insists that beauty is not a matter of novelty but of attention. The stillness of his compositions becomes an act of resistance against the speed and distraction of contemporary life. Each image whispers: look again — this is the world you inhabit.

This philosophy of the ordinary situates his photography within a contemplative tradition that values simplicity as depth. It suggests that to live photographically — to see as Chalmers sees — is to rediscover the wonder that lies within the familiar.

The Ethics of Seeing: Responsibility and Reverence

Finally, at the core of Vernon Chalmers’ reflective practice is an ethic of seeing. To photograph, in his vision, is not to take but to receive. The image is not a conquest but a gift — one that carries with it the responsibility to honour what is seen.

This ethical stance reveals itself in his deep respect for the natural world. Every photograph becomes an act of gratitude — a quiet acknowledgement of the fragile interconnectedness of life. Chalmers’ photography reminds us that to see truly is also to care. His lens becomes a moral instrument, teaching that perception is inseparable from empathy.

In this way, his work transcends both art and technique. It becomes a way of being-in-the-world — a lived philosophy of reverent seeing. To engage with his photography is to encounter an ethos of attention: a way of looking that heals the distance between humanity and nature.

Purple Heron in Flight : Table Bay Nature Reserve 

Conclusion: Photography as the Art of Being Present

Vernon Chalmers’ photography stands as a luminous testament to the union of art, philosophy, and lived experience. It is a practice grounded in attention, shaped by presence, and illuminated by awareness. Through his work, the camera becomes not a barrier between self and world but a bridge — a means of encountering reality as a dialogue of perception and meaning.

His images remind us that photography is ultimately not about capturing the world, but being captured by it — by its light, its silence, its endless becoming. To see through his lens is to rediscover the sacredness of the everyday and the transcendence within the ordinary. It is to learn that art, at its highest form, is an act of presence — and that presence, in its deepest form, is an act of love." (Source: ChatGPT)

Images: Copyright Vernon Chalmers Photography

Vernon Chalmers still a Canon EOS 7D Mark II User

Vernon Chalmers: Photographing Birds in Flight with the Canon EOS 7D Mark II and EF 400mm f/5.6L USM Lens

Introduction: A Portrait of Presence in Bird Photography

"The intersection of technical mastery, ecological awareness, and existential philosophy characterizes the unique imprint of Vernon Chalmers in the contemporary field of bird-in-flight photography. Operating on the windswept edge of Cape Town, South Africa, Chalmers’ work has garnered recognition for its blend of practical guidance, pedagogical commitment, and a vision of photographic meaning that extends far beyond superficial image-making. At the center of his practice is a persistent dialogue with birds in motion—particularly as captured using the Canon EOS 7D Mark II paired with the legendary Canon EF 400mm f/5.6L USM lens. This article explores the technical, artistic, and philosophical dimensions of Chalmers’ work, situating his photographic output within global and local traditions, and illuminating the intricate dance between equipment, technique, and existential reflection on presence, perception, and being.

Vernon Chalmers: Biography and Career Trajectory

Vernon Chalmers is a Cape Town–based professional photographer, educator, and writer whose career trajectory reflects a sustained integration of image-making, technical analysis, and adult learning. After founding Vernon Chalmers Photography in Milnerton in 2013, he quickly established himself as an authority on Canon EOS camera systems, offering workshops and private tuition that helped raise the standard of bird and nature photography across South Africa and beyond. His venues—Woodbridge Island, Intaka Island, Kirstenbosch Botanical Garden—each offer settings rich in avian diversity, acting as living studios where photography, ecology, and philosophy intertwine.

However, what most distinguishes Chalmers from many of his peers is his philosophical approach to both photography and teaching. Drawing on existential traditions (Sartre, Heidegger, Merleau-Ponty) and Viktor Frankl’s logotherapy, Chalmers frames photography as a pathway to presence, meaning, and wellbeing, treating the camera as a medium for both technical exploration and self-discovery. His writings, published online and in workshop notes, reveal a thinker attentive to the psychological, ethical, and ecological stakes of image-making.

Canon EOS 7D Mark II Long-Term Use and Experience

Grey Heron in Flight : Above Table Bay Nature Reserve, Woodbridge Island

The Canon EOS 7D Mark II and EF 400mm f/5.6L USM: An Equipment Profile

The Canon EOS 7D Mark II: Precision for Action

The Canon EOS 7D Mark II, released in 2014, earned a reputation as a formidable tool for wildlife photography, especially birds in flight—a genre notorious for its technical demands. Key features relevant to Chalmers’ practice include:

• APS-C 20.2MP Sensor: Delivers an effective 1.6x crop, increasing apparent reach from telephoto lenses—essential for distant, wary subjects.

• 65-Point All Cross-Type Autofocus System: Enables rapid, precise focus tracking of fast-moving birds, with deep configurability for various field conditions.

• 10 FPS Continuous Shooting: Essential for freezing moments at the height of action, such as wing extension or prey capture.

• Rugged Magnesium-Alloy Build and Weather Sealing: Supports reliability in the damp, windy, or sandy environments typical of Cape coastal ecosystems.

• Dual Card Slots and Extended Buffer: Allow for longer shooting sessions without interruption—a crucial practicality when photographing unpredictable birds.

Compared with newer mirrorless options, the 7D Mark II still holds its own due to its robust autofocus and tactile controls, matched by unmatched field durability.

Canon EF 400mm f/5.6L USM: The Classic Prime for Bird-in-Flight

Since its release in 1993, the Canon EF 400mm f/5.6L USM lens has held legendary status among bird and wildlife photographers. Its appeal lies in a distinctive combination of characteristics:

• Exceptional Sharpness: Delivers crisp images across the frame, even wide open, enabling celebration of fine feather detail.

• Fast Autofocus: The ring-type USM motor provides quick, quiet, and reliable tracking—paramount for flight photography.

• Lightweight and Maneuverable (1.25 kg): Handholding is practical, which is indispensable for birders needing to react quickly or walk long distances in search of subjects.

• Minimal Vignetting and Chromatic Aberration: The use of UD elements ensures high image quality, even in challenging light or sky/backlit conditions.

• Absence of Image Stabilization: While some see this as a drawback, Chalmers and other action photographers note that at the high shutter speeds (1/2000s+) required for birds in flight, IS is unnecessary and its omission helps keep weight and cost down.

Chalmers’ consistent pairing of the 7D Mark II with the 400mm f/5.6L reflects his preference for “a repeatable rig”—equipment that becomes an extension of the photographer’s perception and intention.

Yellow-Billed Duck : Table Bay Nature Reserve, Woodbridge Island

Technical Settings and Workflow: How Chalmers Photographs Birds in Flight 

Exposure and Autofocus Strategy

Chalmers’ method hinges on a few technical principles consolidated through years of trial and error and distilled in his educational materials. The typical field protocols include:

• Manual Exposure Mode or Tv (Shutter Priority) with Auto ISO: Fast shutter speeds (1/2000–1/4000s) are the norm to freeze rapid wing beats and avoid blur, while aperture is set at f/5.6 for maximum light gathering and separative depth of field. Auto ISO is used with an upper cap (typically ISO 1600–3200) to accommodate shifting light conditions without losing speed.

• Continuous Autofocus (AI Servo): Essential for tracking erratic movement. Chalmers leverages the 65-point AF, often employing Zone or Large Zone AF for fast acquisition, while using Single-Point or AF Point Expansion in cluttered backgrounds.

• Back-Button Focus: Separating autofocus activation from the shutter allows precise—yet flexible—control, crucial when timing shots of wild birds taking off or turning towards the lens.

Setting	Chalmers’ Preference / Typical Values	Rationale
Exposure Mode	Manual / Tv + Auto ISO	Maintains consistent shutter speed for sharpness
Aperture	f/5.6	Maximum light / sharpness, natural background falloff
Shutter Speed	1/2000s to 1/4000s	Freezes even small, fast-flying birds, avoids motion blur
ISO	Auto, max 1600/3200	Flexibility in rapidly changing light, preserves image detail
Autofocus Mode	AI Servo	Continuous tracking of movement
AF Point Mode	Zone/Large Zone; Single Point for perched/cluttered	Zone for BIF; single point for precision
Burst Shooting	10 FPS continuous	Multiple frames to capture critical moments in sequences
File Format	RAW	Maximum flexibility in post-processing, highlights recovery

Table 1: Typical Bird-in-Flight Settings Employed by Vernon Chalmers

In practice, these defaults are adapted to the specific species, backgrounds, and light—Chalmers advocates for learning the nuanced behavior of birds and the environment as much as the intricacies of the camera’s menu.

The Practical Field Workflow

Situational awareness is as important as technical mastery. Observing bird species’ take-off habits, wind direction, and environmental cues informs compositional choices and focus strategy. Chalmers often:

• Positions Himself with the Light at His Back: Illuminating the bird’s features and increasing AF reliability.

• Observes Flight Paths and Anticipates Behavior: He will pre-focus on likely take-off zones, especially near water, reeds, or visible perching spots.

• Uses Burst Mode Judiciously: Short, deliberate bursts limit buffer strain and avoid excessive card/write lag, focusing on key moments of wing pose or beak open during calls.

Chalmers’ field technique also emphasizes ethical practice—minimizing disturbance, respecting nesting sites, and prioritizing the welfare of wildlife over “the shot.” This ethical stance is echoed in existential discourse, where presence and respect for the “otherness” of the subject are paramount.

Environmental Variables for Improved Birds in Flight Photography

African Sacred Ibis : Above the Diep River, Woodbridge Island

Artistic Style and Existential Philosophy 

Minimalism, Presence, and the Aesthetics of Flight

One of the most immediately recognizable aspects of Chalmers’ bird photography is its compositional minimalism. Birds are often isolated against expansive skies or softly blurred reeds and water—backgrounds rendered nonintrusive by the telephoto’s shallow depth of field. This aesthetic serves multiple functions:

• Focus on the Essential: The bird’s gesture, the arc of movement, and the delicate play of light on feathers become the visual and expressive center.

• Atmosphere and Mood: The restrained palette (muted blues, dawn golds, silvery greys) contributes to a contemplative, sometimes melancholic mood—an invitation to stillness and reflection amid movement.

• Symbolism of Flight: Birds are not merely taxonomic specimens; flight is presented as a metaphor for freedom, aspiration, and the transience of life.

Chalmers’ formal strategies are thus inseparable from the existential ideas underpinning his practice, where the act of seeing and representing birds is a meditation on being and impermanence.

Existential and Phenomenological Underpinnings

The existential-philosophical dimension of Chalmers’ work distinguishes his photography from conventional wildlife imagery. Drawing on Merleau-Ponty’s phenomenology and Sartrean existentialism, Chalmers approaches the act of photographing as a lived experience—a dialogue between the observer and the observed, marked by mutual presence, temporality, and vulnerability. Some key themes include:

• Attentive Patience: Waiting hours by the lagoon for the right light or moment becomes not just a technical tactic but a discipline of presence, akin to meditative practice.

• Ethical Encounter: The bird is regarded not as a “trophy” but as the “Other,” whose alterity invites responsibility, patience, and humility.

• Ontological Metaphor: The fleeting trajectory of a bird is cast as an allegory for human freedom and finitude; every in-flight image evokes the oscillation between transience and permanence.

• Photography as Reflection: The camera, far from a neutral recorder, is an “existential apparatus” through which perception and meaning are continually renegotiated.

This philosophical orientation is apparent in Chalmers’ essays, portfolio commentaries, and workshop curricula, where he encourages students to engage with their practice not just as a series of technical challenges but as a “praxis of presence” that deepens awareness and connection.

Use of Colour and the Photographic “Breath”

Chalmers’ approach to colour is subdued but expressive, using chromatic modulation to embody affect. Blue mornings, autumnal reed beds, and gold-edged wings are not rendered in high-saturation, dramatic hues, but in subtle, carefully modulated tones that resonate with emotion without lapsing into sentimentality.

This use of colour further supports his existential-phenomenological “insistence on presence”—photographs become moments of “photographic breath,” inviting viewers into slowed perception and active contemplation. The viewer, like the photographer, is called to dwell with the image, to experience its temporality, and to savor the luminous presence of the bird.

Cape Real Duck : Table Bay Nature Reserve, Woodbridge Island

Workshop Leadership and Educational Practice

Birds in Flight Workshops: Philosophy and Pedagogy

Chalmers’ commitment to education runs through every facet of his practice. Besides online resources and blog essays, he offers tailored workshops—often one-on-one or in small groups—focused predominantly on Canon EOS systems and bird-in-flight photography. His pedagogical approach aligns with experiential learning theory (Kolb, 1984; Knowles, 1980), emphasizing:

• Hands-on Fieldwork: Practical sessions at places like Woodbridge Island or Intaka Island, where students apply exposure, AF configuration, and tracking techniques in real time.

• Tailored Guidance: Rather than rigid lesson plans, Chalmers responds to each student’s needs, experience, and equipment, ensuring relevance and retention.

• Integration of Post-Processing: Lightroom is introduced alongside camera skills, with minor but impactful adjustments to exposure, cropping, and noise—helping students bridge in-camera intention with final output.

• Ongoing Support and Community: After formal instruction, students can share images, request feedback, and participate in joint field sessions.

This model affirms Chalmers’ belief in learning as both an individual and collective endeavor—mirroring the dialogical structure of perception explored in his philosophical writings.

Post-Processing: From RAW to Final Image

Chalmers’ post-processing approach is characterized by subtlety and fidelity to the scene, supporting his documentation of the “encounter” rather than the manufacture of spectacle. The typical workflow involves:

• Minor Adjustments in Lightroom Classic: Cropping for composition, exposure tweaks, and contrast refinement, always with restraint to maintain naturalism.

• Noise and Spot Removal: Using tools like Topaz DeNoise AI or Lightroom’s denoise tool for images captured at higher ISOs or in low-light.

• Sharpening and Local Adjustments: Emphasized selectively on eyes and fine feather detail, avoiding the introduction of artifacts or unnatural halos.

• RAW to JPEG Conversion: The final output is destined for print or web, requiring profiles appropriate to viewing medium.

Chalmers’ guides and personal commentary reinforce the idea that editing is not an afterthought but an ethical act—meant to respect the bird’s character and the authenticity of the encounter, rather than to “improve” on nature.

Canon EOS 7D Mark II and EF 400mm f/5.6L USM in the Field: A Comparative Analysis 

Field Benefits for Birds in Flight

Feature	Canon EOS 7D Mark II	Canon EF 400mm f/5.6L USM	Chalmers’ Use and Commentary
Sensor Type	20.2MP APS-C (1.6x crop)	n/a	Extended reach, more pixels on target
Autofocus Points	65 All cross-type, customizable	AF driven by fast ring-type USM motor	Fast, accurate focus—critical for BIF
Continuous Shooting	10 FPS	n/a	Captures peak action moments
Lens Weight	n/a	1.25 kg	Handholdable for long periods
Image Stabilization	None (in-body or lens IS)	None	Not needed at high shutter speeds, keeps weight down
Build Quality	Magnesium alloy, weather-sealed	Metal barrel, robust	Durable for outdoor fieldwork
Minimum Focus Distance	n/a	3.5m	Limits macro, suited for larger birds
Autofocus Performance	Custom AF Cases, back-button AF, iTR support	Fast, responsive, focus limiter available	Customizes AF strategy per scenario
Buffer and Storage	Dual slots, ~30 RAW images (buffer)	n/a	Extended shoots, rapid reviews
Price (2025, used market)	$500–800	$800–1000 (used)	Budget-friendly for high performance
Pairing Rationale	[Combined setup]		“Best ROI” for reach, speed, portability

Table 2: Canon EOS 7D Mark II and EF 400mm f/5.6L USM—Key Features and Chalmers’ Commentary

Chalmers’ decision to favor this pairing over bulkier, more expensive super telephotos (e.g., 500mm f/4, 600mm f/4) or zooms with stabilization (e.g., 100-400mm IS II) emerges from his focus on AF speed, sharpness, portability, and reliability.

Common Kestrel : Above the Diep River, Woodbridge Island

Recent Developments: Experiments, Publications, and Equipment Reflections

Chalmers remains an active experimenter and commentator on photographic technology. While he continues to advocate for the 7D Mark II and 400mm f/5.6L, he regularly tests extensions, new Canon EOS R mirrorless bodies, and software. Examples of recent explorations include:

• Testing Canon Extender EF 1.4x III with the 7D Mark II/400mm: While this gives an 560mm f/8 effective setup, Chalmers found AF significantly slowed and tracking compromised, especially for birds in flight; he concluded the native combination outperformed extender setups except in rare cases of exceptionally distant or slow-moving birds.

• Comparison with Full-Frame Canon EOS 6D/6D Mark II: For landscape and macro work, Chalmers uses the 6D Mark II; but for birds in flight, the crop factor, AF performance, and higher frame rate of the 7D Mark II dominate his choice.

• Reflections on Canon EOS R System: Chalmers has trained many students on mirrorless EOS R bodies, acknowledging their superior low-light AF and eye detect, but he reserves judgment for a future R7 Mark II as a true replacement for the 7D Mark II’s action capabilities.

In terms of publications and outreach, Chalmers has expanded his online archive with essays on existential photography, color as a philosophical tool, photographic therapy, and in-depth guides for both technical and creative development.

Ecological and Conservation Context: Woodbridge Island, Table Bay Nature Reserve

Birding and photographic practice for Chalmers are inseparable from the ecological stewardship of local habitats. The Table Bay Nature Reserve and its subregions—Diep River, Milnerton Lagoon, Woodbridge Island—are biodiversity hotspots providing habitat for over 170 recorded bird species. Chalmers’ fieldwork and workshops bring attention to:

• Conservation Value: His imagery documents the persistence and vulnerability of local waterbirds, shorebirds, and raptors, serving as testimony and advocacy tool for conservation efforts.

• Ecological Awareness in Practice: Field photo-walks are conducted with explicit ethical guidelines—avoidance of nest disturbance, minimal intrusion, and respect for seasonal sensitivities.

• Citizen Science: Though Chalmers’ focus is artistic and educational, his data-rich, accurately identified images serve as valuable resources for local ornithological records and citizen science initiatives.
  

African Oystercatcher : Low Above the Diep River, Woodbridge Island 

Bird Species Frequently Photographed

A representative selection of birds in Chalmers’ galleries, as explicitly noted in recent field reports and workshop records, includes:

• Waterfowl: Yellow-billed duck, Egyptian goose, Cape teal, red-billed teal

• Waders and Shorebirds: African oystercatcher, black-winged stilt, common greenshank, pied avocet

• Herons and Egrets: Grey heron, purple heron, little egret, cattle egret

• Raptors: Peregrine falcon, Common Kestrel

• Gulls and Terns: Swift tern, sandwich tern, kelp gull, Hartlaub’s gull

• Passerines and Others: Common starling, red bishop, southern masked weaver, Levaillant’s cisticola

This diversity reflects the richness of local habitats and Chalmers’ dedication to exploring both common and rarer species.

The Philosophical Turn: Photography as Meaning-Making and Therapy

Vernon Chalmers’ practice transcends mere documentation; it integrates psychological and existential dimensions aligned with Viktor Frankl’s logotherapy, ecological mindfulness, and contemporary theories of art as therapy. He frames photographic engagement as:

• A Quest for Meaning: Photography is a vehicle for personal growth, reflection, and the cultivation of presence.

• A Form of Healing and Self-Discovery: The deliberate, attentive practices of being in nature and making images are positioned as antidotes to digital distraction and existential anxiety.

• A Pedagogical Venture: His teaching is designed to empower students not just as technicians but as meaning-makers—to “see, dwell, and carry that noticing into the world.”

Such reflections have prompted the formation of upcoming courses (e.g., “Navigating the Colour of Being”), which blend philosophical inquiry, creative self-exploration, and technical refinement in a holistic curriculum.

Glossy Ibis Fleeting Formation : Above Table Bay Nature Reserve, Woodbridge Island 

Recent Publications and Online Presence

Chalmers is prolific in self-publishing, maintaining a blog, essays, annotated galleries, and guides on vernonchalmers.photography. Recent highlights include:

• “Birding with the Canon 7D Mark II” (October 2025): Detailed accounts of field use, species encountered, equipment analysis, and reflections on environmental conditions.

• “Birds as Existential Photography” (October 2025): An essay synthesizing existential philosophy and avian photography, situating birds as motifs of transience and presence.

• Technical Articles: Posts on setup, autofocus case studies, challenges photographing smaller species, and field reviews of new Canon / third-party gear.

His adherence to citation standards for online media, meticulously attributing blog posts and online tutorials, models best practice for educational and academic readers.

Equipment Comparison: 7D Mark II vs 6D Mark II for Bird Photography

A recurring theme in Chalmers’ writing is the practical, scenario-based comparison between his preferred 7D Mark II APS-C setup and the Canon 6D Mark II full-frame alternative:

• Reach/Oversampling: The 1.6x crop of the 7D Mark II offers greater pixel density on distant birds, maximizing detail.

• Autofocus Speed and Flexibility: The 7D Mark II’s denser, wider-spread 65-point AF (vs. 45 points, more clustered in the 6D Mark II) wins for tracking fast, erratic movement.

• Continuous Shooting: 10 FPS on the 7D Mark II vs. 6.5 FPS on the 6D Mark II delivers more opportunities for in-flight action shots.

• Low-Light Performance: The 6D Mark II’s full-frame sensor provides cleaner images at high ISO, but for Chalmers’ well-lit, outdoor environments, the trade-off is usually in favor of AF speed and reach.

• Build and Durability: Both are robust and weather-sealed, but the 7D Mark II carries a reputation for field “toughness.”

For other genres (landscape, macro, low-light), Chalmers turns to the 6D Mark II, but for birds in flight, the APS-C + 400mm combination outperforms in most scenarios.

Using the Canon EOS 6D Mark II / EF 400mm f/5/6L USM for Birds in Flight

Blacksmith Lapwing : Table Bay Nature Reserve, Woodbridge Island

Canon EOS 7D Mark II Long-Term Use and Experience

Conclusion: Seeing, Being, and the Flight of Photography

Vernon Chalmers’ ongoing exploration of birds in flight—springing from the technical capabilities of the Canon EOS 7D Mark II with the EF 400mm f/5.6L USM lens—reveals a photography that is at once practical, philosophical, and ecological. His approach demonstrates how excellence in results is rooted in a disciplined interplay of field technique, technical consistency, and openness to the world as it is, not as it is contrived.

But more deeply, Chalmers’ photography models an ethics and aesthetics of attention, where every image is both a document of biodiversity and a meditation on presence, impermanence, and responsibility. As his recent essays and workshops show, photographing birds is for him never simply “about birds”—it is an act of being, a practice of meaning-making, and an invitation to others to “see, dwell, and carry that noticing into the world”.

The camera and lens are not endpoints but companions on a journey—each successful image a fleeting, luminous answer to the question of being with and in the world." (Source: Microsoft Copilot 2025)

All Images: Copyright Vernon Chalmers Photography