The Intentional Gaze: Vernon Chalmers’ Colour Photography as a Synthesis of Existential Thought, Phenomenological Encounter, and Ontological Colour
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| The Intentional Gaze : Spoonbill Flying over the Diep River, Woodbridge Island |
Existential philosophy, a family of inquiry exploring the individual’s struggle for an authentic life despite the inherent absurdity of existence, has historically influenced diverse disciplines, from literature and theology to art and drama.1 In the visual arts, particularly photography, existential themes such as loneliness, anxiety, and alienation traditionally manifested through aesthetics that emphasized stark contrasts and a sense of isolation. This approach often utilized black-and-white photography, which simplifies composition and creates a strong interplay of light and dark, evoking a timeless mood and nostalgia while highlighting the fundamental anxieties of the human condition.2
Vernon Chalmers’ artistic practice signals a significant divergence from this historical monochromatic aesthetic. Chalmers consciously seeks to “add colour to existential photography”.5 This chromatic shift repositions his work, moving it beyond the traditional expressions of despair toward a synthesis of technical precision, philosophical depth, and emotional resonance.6 His comprehensive body of work demonstrates that photography is not merely about capturing images but about engaging with the world as a site of meaning, reflection, and potential transformation.5
- Defining Existential Colour Photography (Vernon Chalmers' Paradigm)
Chalmers' distinctive paradigm, aptly termed "existential colour photography," explores themes of existence, transience, and the search for meaning through careful and intentional observation.6 This methodology is characterized by its embodiment of an existential commitment to freedom and authenticity, coupled with a phenomenological focus on perception and presence.7 His practice represents a cohesive synthesis of artistic commitment, philosophical inquiry, technical mastery, and a rigorous educational mandate.5
The introduction of deliberate color usage and symbolic frameworks, such as his existential theme "Navigating the Colour of Being," fundamentally shifts the philosophical grounding of the work. While traditional existential aesthetics focused on confrontation with the void, suggesting monochromatic anguish, Chalmers' chromatic engagement introduces the richness of facticity - the immediate, subjective reality of lived experience.6 This emphasis implies that meaning is not absent, but rather resides in the multiple, subjective hues and moods of existence, requiring active perception (phenomenology) to apprehend them.8 This choice reframes existentialism from a philosophy rooted solely in crisis and anguish (Sartre's model) to a dynamic philosophy of affirmation and self-realization (Frankl’s model of meaning-making), necessitating the photographer’s intense subjective engagement rather than aesthetic detachment.9
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| Finite Invitational Steps to Freedom : Architecture, Cape Town |
- The Urgency of the Photographic Act
The role of photography itself is elevated within Chalmers’ philosophical framework. Photography has been observed to be a human universal, driven by an inherent desire to hunt and gather pictures.11 When viewed alongside the existential urgency to confront choice and self-determination 1, the impulse to photograph becomes an existential drive—a fundamental human need to confirm, validate, and temporarily arrest the constant, fleeting nature of existence.7
The consequence of this perspective is that the creation of an image is interpreted as a small, immediate victory over transience and the absurd.7 The technical action of pressing the shutter is thus linked directly to a deep philosophical motivation: affirming presence in a given moment. The captured image transforms from a mere record to a deliberate manifestation of the photographer's being-in-the-world.8
The Philosophical Framework: Existence Precedes Aesthetic Essence
- Existentialism's Core Tenets in Vernon Chalmers' Context
A central tenet of existentialism is the priority of individual existence over predetermined essence, stressing personal freedom, responsibility, and deliberate choice in the pursuit of self-discovery and the determination of life's meaning.1 This profound freedom is often accompanied by angst or anxiety, as the individual recognizes they are solely responsible for their actions and lack external justification, being "condemned to be free".9
Chalmers’ practice demands authenticity, a primary virtue in existential thought.1 Drawing from thinkers like Søren Kierkegaard, authenticity involves taking ownership of one's identity and resisting the temptation of conformity.13 In his workshops, Chalmers actively reinforces this principle by urging students to cultivate their unique, personal vision and to refuse assimilation into prevailing visual trends, echoing Kierkegaard's critique of "the crowd".7 The resulting image is therefore a direct reflection of the photographer's authentic self-authorship.
Critically, this philosophical focus informs his view on technology. While technology often risks reducing the world to a "standing-reserve" (a resource to be exploited), as Martin Heidegger warned 7, Chalmers counters this potential reductionism by emphasizing intentionality. He maintains that it is the photographer, not the camera, who imbues the image with meaning. His instruction reminds students that technical tools are enhancers of vision, not substitutes for philosophical presence and authenticity.7
- The Phenomenological Encounter and the Embodied Gaze
Chalmers views photography as a phenomenological encounter demanding mindfulness and presence.7 Phenomenology, adapted by existentialists like Heidegger and Maurice Merleau-Ponty, focuses on describing human existence as it is actually lived.13 This concept aligns with Heidegger’s notion of being-in-the-world (Dasein), underscoring the inseparability of human existence from the world it perceives and inhabits.8
Every photograph produced under this philosophy represents a recognition of the moment’s ephemerality and an intentional effort to preserve its essence.7 The resulting image exists in a profound paradox: while it arrests time, seemingly fixing a singular reality (a denial of temporal flow), the very isolation of the fleeting instant highlights the inescapable reality of transience and finitude.7 This intersection of the ephemeral and the eternal invites viewers to slow down, inhabit the captured moment, and reflect on their own being-toward-time.7
- Logotherapy: Photography as a Pathway to Meaning (Viktor Frankl)
Chalmers integrates existential thought with psychological theory, notably Viktor Frankl’s logotherapy.5 Logotherapy centers on the search for meaning in life, even in the face of suffering or adversity. Chalmers frames photography as a pathway to meaning, achievable through creative expression, mindful observation, and achieving solace through nature.6
The therapeutic power of photography, therefore, lies in fostering presence and healing.6 Chalmers’ own experiences with recovery highlight the benefits of nature-connectedness, where careful observation of the natural continuum fosters self-awareness and healing.6 This practice aligns with contemporary research showing that mindful photography can reduce anxiety and enhance self-discovery.5 The pedagogical commitment to theory and structured learning reinforces this therapeutic approach.14 Chalmers’ teaching utilizes Kolb's experiential learning cycle—concrete experience, reflective observation, abstract conceptualization, and active experimentation.5 This pedagogical structure mirrors the continuous existential cycle of self-making: action (shooting), reflection (critique), conceptualization (theory), and renewed action (experimentation). The academic rigor applied to instruction validates photography as a structured, repeatable methodology for self-discovery, establishing the camera as an instrument for existential training.8
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| 'A Tear of Relief' : From a Love Palm named Gratitude |
- The Ontological Nature of The Colour of Being
The essay "Navigating the Colour of Being" defines the theoretical locus of Chalmers' colour work.8 In this framework, colour transcends its conventional technical roles - such as managing contrast or selecting palettes 11 - and is utilized as an ontological metaphor.8 Ontological colour refers to colour as a symbolic vehicle for the layered, fluid, and varied nature of human identity and existence.15
This metaphorical application suggests that existential variation - the constant oscillation of human consciousness between states of clarity, joy, melancholy, or ambiguity - is mirrored precisely in the chromatic spectrum, which ranges from vivid brilliance to subdued monochrome.8 Navigating this spectrum means accepting responsibility for one’s freedom while simultaneously acknowledging the constraints of facticity.8
- The Existential Function of Chromatic States
Chalmers utilizes specific hues to represent distinct existential states, mapping colour psychology onto philosophical concepts.17
For instance, Red, associated with passion, excitement, and danger 17, represents the raw pulse and vitality of existence.6 It aligns with the immediate, visceral reality of facticity - the unfiltered emotional demands of human being.6 Conversely, Blue symbolizes coolness, trust, and tranquility.17 It reflects the vastness and mystery of the infinite 8, often representing introspection, transcendence, and the quiet cognitive process required for authentic meaning-making.
Furthermore, the Shifting and Fluid Hues captured in seascapes are essential to articulating temporality.8 The passage of time, impermanence, and continual transformation are made visible through the changing blues, greys, and golds of the water’s surface. Colour, in this sense, becomes the primary language through which these transitions are revealed, echoing Heidegger’s claim that human existence is perpetually a being-toward-time.8
The subjective nature of colour interpretation is paramount to the philosophical depth of this work. Existentialism validates subjective truth and perspectivism - the unique first-person perspective on reality.9 Chalmers notes that students perceive and interpret colour differently based on their background and emotional orientation.8 By fostering this diversity, the work affirms the existential rejection of objective, universally categorized reality, positioning colour as the fundamental medium through which individual consciousness constructs and engages with its own reality.8
Moreover, the deliberate selection of a photographic palette - often occurring during post-processing—becomes a statement of attitude. Logotherapy finds meaning not only through creation but also through attitudinal values, the determination to hold a certain perspective regardless of circumstance.6 A photographer choosing to emphasize warm, vibrant colours in a scene that might otherwise evoke melancholic tones exercises this existential choice, affirming resilience and hope.18 This conscious palette manipulation is thus a philosophical statement about the photographer's determined attitude toward life, reflecting Frankl’s emphasis on creating meaning even in uncertainty.
Table 1 synthesizes
the metaphorical links within this chromatic philosophy:
Table 1: The Colour of Being: Existential Interpretation of Chromatic States
| Chromatic Hue (Literal/Aesthetic) | Existential State/Mood (Metaphorical) | Associated Emotion/Concept | Philosophical Link | Snippet Reference |
|---|---|---|---|---|
| Red/Warm Tones | Vitality/Raw Existence | Passion, Energy, Urgency, Danger | Facticity/Immediate Pulse of Being | 6 |
| Blue/Cool Tones | Reflection/Tranquility | Calmness, Sadness, Trust, Melancholy | The Indifferent Universe; Angst of Choice | 8 |
| Green/Earth Tones | Growth/Connection | Harmony, Freshness, Ecological Responsibility | Being-in-the-World; Land Ethic | 8 |
| Shifting/Fluid Hues | Temporality/Continuum of Change | Transition, Impermanence, Renewal | Being-toward-time; Multiplicity of Being | 8 |
- Abstraction and Interiority
Beyond representational works, Chalmers also explores abstract visual expressions that use colour in ways that transcend the literal representation of the world.8 These creative abstractions create a space where interior states of being - the complex emotional and mood states of the photographer or viewer - can be visualized. Through careful chromatic patterning, the "colour of being" is explicitly utilized as a metaphor for existential interiority, allowing for the translation of psychological states into a palpable visual form.8
Visualizing the Existential Condition: Subject, Composition, and Symbolism
- Freedom and Transcendence: The Bird in Flight (BIF)
The specialization in bird-in-flight (BIF) photography is a hallmark of Chalmers’ portfolio, serving as a dynamic and powerful visual metaphor.5 The bird in flight embodies technical difficulty, demanding mastery of exposure control, autofocus tracking, and motion capture.5 Philosophically, it represents freedom, transcendence, and the fleeting nature of existence.6
The challenging pursuit of capturing the bird mid-flight is interpreted as an attempt to freeze a dynamic expression of life, thereby isolating and reflecting upon the profound ephemerality of existence.7 The BIF imagery resonates with the Sartrean concept of freedom and the tension between our finite lives and the expansive mysteries of existence.5
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| A Moment of Light and Lines after Sunset : Milnerton Beach, Cape Town |
- Temporality and Finitude: Seascapes and Horizons
Chalmers utilizes the specific geography of Cape Town - particularly the Milnerton Lagoon, Woodbridge Island, and Kirstenbosch Garden - as philosophical canvases, much like Ansel Adams utilized Yosemite.5 These locations are not mere backdrops; they become extensions of the photographer's self. Merleau-Ponty's observation that "We choose the world, and the world chooses us" suggests that the landscape, its light, and its ecology form part of the photographer's facticity that must be authentically navigated.9
Seascapes and horizons are recurring metaphors in this existential practice.7 Oceans signify depth, mystery, and the infinite, while horizons suggest openness and journeys. The changing colours and movements of the sea surface vividly highlight the temporal fluidity of being, where impermanence is the only constant, yet everything belongs to the same continuum.8
- Solitude and Authenticity: Minimalist Compositions
Existential themes of solitude, temporality, freedom, and authenticity are woven into Chalmers' compositional choices.6 His work often employs minimalist compositions featuring solitary subjects, such as single birds in expansive landscapes or against stark horizons.5
These compositions function as visual metaphors for existential solitude, inviting the viewer to project their own meaning and confront the realization that meaning must be self-authored in an indifferent universe.5 Symbolic elements are deliberately employed: lagoons evoke reflection and inner stillness, while the solitary bird against a vast sky amplifies the inherent tension between finite life and expansive existence.6 The consistent use of powerful symbols like birds and horizons constitutes an active meaning-giving project, transforming the image from a mere representation into a "symbolic text" that invites deep philosophical interpretation, fulfilling the Franklian imperative to find meaning through creative acts.6
The structural
relationship between the philosophical concepts and their visual representation
is foundational to the analysis:
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| A Gaze of Trusted Freedom : Cape White-Eye, Kirstenbosch Garden |
Table 2: Mapping
Existential Concepts to Chalmers' Visual Metaphors
| Existential Concept | Core Philosophical Thinker | Chalmers' Visual Metaphor/Subject | Visual Expression of Theme | Snippet Reference |
|---|---|---|---|---|
| Freedom & Choice | Sartre (Existence precedes essence) | Birds-in-Flight (BIF) | Dynamic motion, transcendence, mastery of the fleeting present. | 5 |
| Temporality & Finitude | Heidegger (Being-towards-time) | Seascapes, Horizons, Fleeting Moments | Shifting hues and light; capturing ephemerality; conscious finitude. | 7 |
| Solitude & Authenticity | Kierkegaard (Critique of conformity) | Solitary subjects, Minimalist compositions | Subject isolated in a vast, reflective landscape; visual metaphor for self-authorship. | 5 |
| Meaning-Making | Frankl (Logotherapy) | Intentional Observation, Nature-Connectedness | Photography as a therapeutic, mindful act of presence and self-discovery. | 5 |
| Responsibility & Ethics | Leopold (Land Ethic) | Wildlife Patience, Ecological Focus | Restraint in technique; caring for ecological conditions. | 7 |
- Existential Responsibility and the Ethics of Care
While classical existentialism often focuses primarily on individual freedom and subjective choice, Chalmers’ philosophy demonstrates an outward extension of responsibility toward the community and, crucially, the non-human world.8 This ethical awareness is integrated directly into his practice.
His approach aligns with Aldo Leopold’s “land ethic,” which stresses respect for ecological systems.7 Ethical wildlife photography necessitates patience, restraint, and non-disruption of habitats.7 This ethical commitment establishes the philosophical lens as inseparable from an ethic of care.7 By foregrounding the beauty and inherent fragility of natural environments, particularly coastal birds and seascapes, his work implicitly encourages collective reflection on human responsibility toward ecological conditions.8 In this sense, navigating the "colour of being" is interpreted as both a personal and a collective journey toward ecological care.8
The explicit ethical focus on non-disruption in nature provides a concrete, operational refutation of the potential for technological exploitation. By approaching the subject with restraint and reverence, the photographer treats the bird or the landscape as an end in itself, rather than merely as data or a resource to be consumed.7 This ethical choice to photograph responsibly thus stands as the practical antithesis to the technological reductionism warned against by Heidegger.
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| Human Patience for a Fleeting Moment : Little Egret, Woodbridge Island |
- Pedagogy as the Cultivation of Authentic Vision
Chalmers’ commitment to education (Photography Academia) emphasizes structured, repeatable, and research-informed learning.14 This pedagogical framework insists that composition, exposure, and colour theory function as intellectual frameworks guiding decisions, elevating instruction beyond mere camera mechanics.11 The curricula are designed to cultivate critical thinking, focusing on the "why" behind the image: Why this subject? Why this composition? Why this post-processing choice?.14
The workshops are explicitly framed as spaces for philosophical dialogue, promoting knowledge sharing, critique, and community engagement.7 This model reflects Karl Jaspers’ emphasis on "existential communication" and the importance of dialogue in understanding existence.22 By encouraging students to exchange ideas and critically analyze their perspectives, the photographic process is transformed into a form of communication focused on conveying subjective, authentic vision.14
The resulting photograph functions as a shared "symbolic text" 7 that facilitates this dialogue, enabling both the photographer and the viewer to confront and articulate their relationship to freedom and meaning. The pedagogical effort ultimately reinforces photography as a method of self-exploration and inner transformation, guiding individuals toward a way of seeing that is quiet, present, and deeply human.6 This rigorous, academic approach affirms the underlying notion that for Chalmers, photography is not just a technical pursuit but a conscious way of living philosophically.8
Conclusion: The Legacy of Vernon Chalmers' Luminous Existentialism
Vernon Chalmers’ work represents a compelling and innovative contribution to contemporary philosophical photography. He has successfully synthesized the abstract demands of Existential philosophy - including the necessity of freedom, the anxiety of temporality, and the mandate for authenticity - with the lived aesthetics of colour photography. By moving beyond the traditional monochromatic depiction of angst and alienation, Chalmers reframes existential engagement as an active, chromatic pursuit of meaning, responsibility, and affirmation within the natural world.
The key innovation
lies in transforming technical aspects, such as colour theory and compositional
constraints, into ontological metaphors. The concept of "Navigating the
Colour of Being" provides a robust theoretical lens, establishing colour
not as a superficial aesthetic layer, but as the very medium through which the
fluidity and multiplicity of human existence are made visible. Furthermore, by
integrating logotherapy and a rigorous, ethically bound pedagogy, Chalmers
confirms that the act of photography is fundamentally an intentional act of
self-realization and a mindful, ethical commitment to being-in-the-world.
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| A Moment of Freedom, Presence and Reflection : Reed Cormorant, Woodbridge Island |
Future Avenues for Scholarly Inquiry
The depth of
Chalmers' theoretical integration suggests several fertile areas for future
scholarly investigation:
- Comparative Abstraction and Representational Analysis: A detailed comparative analysis of Chalmers’ abstract colour work versus his representational nature studies is necessary to further dissect the articulation of existential interiority and the translation of complex mood states into chromatic patterns.8
- Empirical Validation of Pedagogical Models: The efficacy of Chalmers’ Logotherapy-based pedagogical model - focusing on structured reflection and nature-connectedness for self-discovery - warrants empirical study to quantify its impact on student anxiety reduction, mindfulness, and the cultivation of authentic creative vision.5
- The Ecological Existentialism: Further research should explore the specific socio-ecological dimensions of his focus on fragile South African environments (Cape Town, Woodbridge Island), establishing his work as a critical example of contemporary ecological existentialism that foregrounds human responsibility in the face of environmental transience.8
Works cited
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Images: Copyright Vernon Chalmers Photography
