A Journey Through Meaning, Presence, and Perception. Vernon Chalmers’ Existential Photography Exemplifies the Convergence of Art, Philosophy, and Personal Growth
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| Vernon Chalmers' Existential Photography : Kirstenbosch Garden, Cape Town |
"Vernon Chalmers' existential photography explores themes of solitude, authenticity, temporality, and emotional honesty through his work in bird and nature photography. His approach aligns with existentialist philosophy, reflecting ideas from thinkers like Søren Kierkegaard, Jean-Paul Sartre, and Martin Heidegger.
Chalmers' photography is not just about aesthetics - it serves as a visual philosophy, capturing fleeting moments that symbolize deeper existential truths. His case study, The Bird in Flight as Symbol, examines how birds in motion represent freedom, impermanence, and the search for meaning. He also integrates minimalism, light, and emotional truth into his compositions, making his work contemplative rather than purely documentary." (Source: Microsoft)
The Influence of Viktor Frankl on Vernon Chalmers' Photography >>
Abstract
Vernon Chalmers, a South African photographer, educator, and writer, has developed a profound photographic philosophy that aligns strongly with existential thought. His work emphasizes the subjective experience of the photographer, the therapeutic and reflective value of photography, and the deep search for meaning through visual engagement. Chalmers’ approach blends technical proficiency with existential themes such as authenticity, temporality, and freedom. This paper explores his existential photography through the lens of philosophical underpinnings, aesthetic choices, self-reflective practices, and how his pedagogy invites others into a similarly meaningful journey.
Introduction
Existentialism, as a philosophical movement, is concerned with the individual's quest for meaning in an uncertain and often absurd world. In photography, existentialism finds its expression through intentionality, subjectivity, and authenticity in the act of image-making. Vernon Chalmers' photographic and philosophical output embodies this existential orientation, not just through what he captures with the lens, but how and why he captures it.
Through a blend of technical excellence, philosophical inquiry, and deeply personal engagement, Chalmers transforms everyday subjects - birds, landscapes, and urban scenes - into visual meditations on existence. This paper examines Chalmers' existential photography by situating it within existentialist philosophy, evaluating his practice, and exploring the therapeutic and pedagogical implications of his work.
Existentialism and the Arts
Existentialist thought, particularly as articulated by Søren Kierkegaard, Jean-Paul Sartre, and Viktor Frankl, emphasizes personal responsibility, meaning-making, and the confrontation with freedom and anxiety (Sartre, 1943/2007; Frankl, 1946/2006). The arts have long been a field where existential themes are visualized and interpreted. Photography, with its capacity to capture and freeze transient moments, is uniquely positioned to interrogate existential concerns such as mortality, solitude, and temporality (Barrett, 2010).
Existential photography, then, becomes not merely about aesthetics but about intentional seeing - an act of observing that reflects inner states and philosophical depth. As Chalmers states, “Photography should not merely document the world, but reflect the photographer’s inner world” (Chalmers, 2021a).
Vernon Chalmers: Background and Philosophical Development
Vernon Chalmers’ career spans decades in photography, training, and personal development. Based in Cape Town, South Africa, Chalmers is known for his dedication to bird photography, technical instruction, and more recently, existential and therapeutic approaches to photography (Chalmers, 2020). Influenced by Viktor Frankl’s logotherapy and existential psychotherapy, Chalmers integrates photography as a tool for personal insight, resilience, and mindful living (Frankl, 1946/2006).
Chalmers’ educational background in business and psychology, along with his service in the South African Navy, infuses his photography with a deep sense of discipline and reflection. However, it is his philosophical pivot in recent years - toward photography as an existential and meaning-making process—that distinguishes his work.
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| Chalmers is Intrinsically Aligned with the Existential Philosophy of Viktor Frankl |
Themes in Chalmers’ Existential Photography
1. Temporality and the Present Moment
Chalmers’ photography often emphasizes the fleetingness of the present - especially in his bird-in-flight images. Birds in motion are notoriously difficult to capture, and doing so demands complete presence from the photographer.
This “presentness” aligns closely with Heidegger’s (1927/1962) concept of Dasein, or being-there - fully immersed and aware of one’s moment-to-moment existence. Chalmers describes photography as an “anchor to the now,” allowing the photographer to “reside within the moment” (Chalmers, 2022a).
“Bird photography demands that you be there - not just physically but emotionally and mentally. You can’t fake the moment” (Chalmers, 2022a).
2. Authenticity and the Search for Self
Authenticity, a core existential value, refers to living in alignment with one's true self rather than societal expectations (Guignon, 2004). Chalmers rejects photographic trends focused on perfection or commercial appeal. Instead, he embraces imperfections, mundane subjects, and unpolished settings, seeking instead a raw and honest visual style.
He often encourages photographers to photograph what moves them, not what gains social approval. His emphasis on authenticity resonates with Sartre’s call to reject “bad faith” - the denial of one’s freedom and responsibility (Sartre, 1943/2007).
“Your camera is a mirror; what you see through the lens is often a reflection of what you need to see in yourself” (Chalmers, 2021b).
3. Freedom and Responsibility
In existentialism, freedom is both a gift and a burden. Chalmers articulates this in the freedom the photographer has to choose their frame, subject, and narrative. But he also emphasizes responsibility: for what is excluded, for what is communicated, and for the emotional truth conveyed through the image.
In workshops and writings, Chalmers often returns to the idea that photography is a moral act—one that should aim to preserve dignity, express gratitude, or question superficiality (Chalmers, 2022b).
Existential Photography as Therapy
In recent years, Chalmers has aligned parts of his photography work with therapeutic outcomes—particularly in relation to trauma, recovery, and mental health (Chalmers, 2021c). This echoes existential therapy, where the focus is on the client’s confrontation with meaninglessness, freedom, and death (Yalom, 1980).
Chalmers promotes “therapeutic walks with a camera” as a way to engage the body and mind with the external world, aiding in emotional processing and reconnection with purpose (Chalmers, 2023). His personal experience with loss and transformation underscores the emotional weight of these walks.
1. Photography as Logotherapy
Viktor Frankl’s logotherapy posits that the search for meaning is the primary motivational force in human beings (Frankl, 1946/2006). Chalmers applies this insight in photography by framing the act of photographing as a search for meaning—not necessarily in the object but in the relationship between the observer and the observed.
“A flower, a shadow, or a solitary tree is not just a subject—it’s a conversation with being” (Chalmers, 2021a).
2. Camera as an Existential Companion
For many individuals, the camera becomes more than a tool; it becomes a companion through loneliness, grief, and uncertainty. Chalmers addresses this in blog posts and workshops, highlighting how cameras help people “reframe” their perspectives both literally and metaphorically.
The therapeutic act of slowing down, noticing details, and reflecting on captured images contributes to cognitive and emotional regulation (Van Limbeek et al., 2021). Chalmers’ approach here aligns with contemporary research in photo-therapy and narrative exposure therapy.
Chalmers’ Existential Pedagogy
Chalmers' existential photography is not just personal; it is pedagogical. Through his extensive teaching work—both online and in-person - he guides others to use photography as a journey toward self-understanding.
Rather than instruct only on aperture, ISO, and composition, Chalmers adds layers of mindfulness, narrative, and existential reflection. This pedagogical approach mirrors that of existential educators who aim to cultivate learners’ self-awareness and ethical engagement (Biesta, 2006).
He often begins workshops with open-ended questions:
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Why do you photograph?
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What do you hope to remember—or forget?
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What are you really looking at?
These questions create space for existential inquiry, making the learning process holistic and transformative.
Visual Philosophy in Practice
Chalmers’ visual output can be categorized not just by genre (bird, landscape, low-light) but by philosophical intention. Each image becomes a meditation—a visual essay on presence, freedom, or beauty. He avoids overediting or artificial enhancement, emphasizing the integrity of natural light and moment.
For example, in his low-light photography near Woodbridge Island, Cape Town, Chalmers captures the interplay of shadow, silence, and solitude. These images resist spectacle and instead invite contemplation - what Maurice Merleau-Ponty (1962) might call “the embodied perception of being.”
In bird photography, Chalmers often speaks about the silence required to observe, the patience demanded by nature, and the humility of not controlling the subject - all existential attitudes of letting-go and being-with.
Challenges and Critiques
While Chalmers’ existential photography offers profound insights, it may also face critique from more commercial or utilitarian schools of photography. Critics may argue that existentialism in photography is too introspective or vague, lacking in objectivity or technical rigor.
Chalmers counters this by not dismissing technique, but by repositioning it: technique becomes a servant of intention, not the master of meaning (Chalmers, 2021d). Moreover, his consistent emphasis on why over what or how aligns with existential questioning, even if it deviates from mainstream photographic goals.
Conclusion
Vernon Chalmers’ existential photography exemplifies the convergence of art, philosophy, and personal growth. Rooted in existentialist thought, his approach transcends image-making to become a process of discovery—of both the outer world and the inner self.
In a world saturated with visual content, Chalmers invites a return to intentionality, solitude, and reflection. His photographs are not declarations, but invitations—to pause, to feel, and to wonder. As such, his work offers not only aesthetic pleasure but also a profound existential resonance that continues to inspire both amateurs and professionals alike.
Modern Existential PhotographersReferences
Barrett, T. (2010). Criticizing Photographs: An Introduction to Understanding Images (5th ed.). Cengage Learning.
Biesta, G. (2006). Beyond Learning: Democratic Education for a Human Future. Paradigm Publishers.
Chalmers, V. (2020). Photography and the Emotional Landscape. Vernon Chalmers Photography.
Chalmers, V. (2021a). Existential Reflections in Photography.
https://vernonchalmers.photography/existential-reflections
Chalmers, V. (2021b). Photography, Authenticity, and the Self.
https://vernonchalmers.photography/authenticity
Chalmers, V. (2021c). Healing Through the Lens: Photography and Trauma Recovery.
https://vernonchalmers.photography/therapeutic
Chalmers, V. (2021d). The Role of Intention in Photography.
Chalmers, V. (2022a). The Present Moment in Bird Photography.
Chalmers, V. (2022b). Photography as Responsibility.
Chalmers, V. (2023). Walking with a Camera: Reflections on Therapeutic Practice.
Frankl, V. E. (2006). Man’s Search for Meaning (I. Lasch, Trans.). Beacon Press. (Original work published 1946)
Guignon, C. (2004). On Being Authentic. Routledge.
Heidegger, M. (1962). Being and Time (J. Macquarrie & E. Robinson, Trans.). Harper & Row. (Original work published 1927)
Merleau-Ponty, M. (1962). Phenomenology of Perception (C. Smith, Trans.). Routledge.
Sartre, J.-P. (2007). Being and Nothingness (H. E. Barnes, Trans.). Routledge. (Original work published 1943)
Van Limbeek, E. C., Cuijpers, P., & Verdonk, P. (2021). Photography as a therapeutic medium: A systematic review. Arts & Health, 13(3), 222–240. https://doi.org/10.1080/17533015.2020.1802607
Yalom, I. D. (1980). Existential Psychotherapy. Basic Books.
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This 'Vernon Chalmers' Existential Photography' report is based on information available at the time of its preparation and is provided for informational purposes only. While every effort has been made to ensure accuracy and completeness, errors and omissions may occur. The compiler of Vernon Chalmers' Existential Photography (ChatGPT 2025) and / or Vernon Chalmers for the Mental Health and Motivation website (in the capacity as report requester) disclaim any liability for any inaccuracies, errors, or omissions and will not be held responsible for any decisions or conclusions made based on this information." (Source: ChatGPT 2025)