The Canon EOS R7 Mark II To Be More Robust

Evaluating the Rumored Canon EOS R7 Mark II: A High-Action Photography Powerhouse? Detailed Report

Current Canon EOS R7 Credit: Canon USA

Rumoured Canon EOS R7 Mark II Release Date

Index:

1. Executive Summary
2. The Evolving Landscape of APS-C Mirrorless for Action
3. Core Performance Metrics for High-Action Photography
4. Video Capabilities for Dynamic Action
5. The APS-C Advantage: Reach and Portability
6. Lens Ecosystem for Action Photography
7. Anticipated Advancements: R7 Mark II vs. R7
8. Conclusion: The Verdict on the EOS R7 Mark II as a High-Action Camera
9. Works / References Cited
10. Report Compiler

1. Executive Summary

"The anticipated Canon EOS R7 Mark II is poised to significantly elevate the APS-C mirrorless segment, particularly for high-action photography. Building upon the robust foundation laid by its predecessor, the original EOS R7, the Mark II is generating considerable excitement among photography enthusiasts and professionals alike.1 Industry speculation suggests a substantial leap forward in technology and performance, with key anticipated features including a potentially cutting-edge stacked backside-illuminated (BSI) sensor, a sophisticated and enhanced autofocus system, and notable advancements in video recording.1 These rumored upgrades, combined with the inherent telephoto advantage of the APS-C sensor and Canon's expansive lens ecosystem, suggest a camera highly capable of meeting the rigorous demands of serious enthusiasts and professionals in sports and wildlife photography.3

The incorporation of a stacked BSI sensor in the R7 Mark II, if realized, represents a significant indicator of Canon's strategic intent to position its APS-C line for professional-grade action photography, moving beyond merely enthusiast-level performance. This technological advancement allows for extremely fast data readout from the sensor, which is crucial for minimizing rolling shutter artifacts often seen with electronic shutters, enabling significantly higher continuous shooting speeds, and accelerating autofocus calculations. While the original EOS R7, despite its capabilities, exhibited some rolling shutter effects in its 30 frames per second (fps) electronic shutter mode, a stacked sensor directly addresses this limitation, signaling a fundamental architectural change designed for peak speed and precision. This positions the R7 Mark II not merely as an improved enthusiast camera, but as a serious contender for professional action and wildlife work, fulfilling its rumored role as a "spiritual successor to the renowned EOS 7D series".1

While the Mark II promises substantial capabilities, practical considerations such as optimizing buffer performance with appropriate UHS-II V90 memory cards and managing specific in-camera processing settings, like the Digital Lens Optimizer, will remain crucial for sustained high-speed shooting.5 The potential for rolling shutter with the electronic shutter, though expected to be mitigated by a stacked sensor, will also require real-world evaluation in the Mark II's final iteration.7 

The Highly Anticipated Canon EOS R7 Mark II

2. The Evolving Landscape of APS-C Mirrorless for Action

The APS-C mirrorless camera segment continues to be a vibrant and intensely competitive arena within the broader photography market. Manufacturers are constantly pushing the boundaries of what these smaller-sensor cameras can achieve in terms of speed, autofocus, and overall performance, especially for specialized genres like action and wildlife photography.1 Canon's initial foray into this space with the EOS R7 marked a significant step, offering a compelling blend of performance and features that quickly garnered attention from enthusiasts.1 It demonstrated Canon's commitment to bringing advanced mirrorless technology to the APS-C format.

However, the impending arrival of the EOS R7 Mark II has ignited considerable speculation and anticipation across the photographic community. Rumors suggest substantial upgrades designed to elevate its standing within this competitive landscape, aiming to set a new benchmark for high-action performance.1 The Canon EOS 7D series, a line of APS-C DSLRs, was historically renowned for its robust build, exceptional speed, and suitability for demanding action and wildlife photography. The explicit mention of the EOS R7 Mark II as a "spiritual successor to the renowned EOS 7D series" 1 indicates Canon's strategic intent to reclaim or solidify its leadership in the high-performance APS-C market, specifically for action and wildlife. This is a direct challenge to competitors like Fujifilm (X-T5, X-H2S) and Sony (a6700) who have strong offerings in this space.1 By invoking the 7D legacy, Canon is signaling its target audience and its performance aspirations, implying that the R7 Mark II is designed to inherit and advance the 7D's core strengths—speed, robust autofocus, and suitability for capturing fast-moving subjects—but within the modern mirrorless framework. This strategic positioning is crucial for understanding the Mark II's potential impact and its ambition to be a top choice for this segment in the mirrorless era.3

3. Core Performance Metrics for High-Action Photography

• Sensor and Image Processor

The original EOS R7 is built around a 32.5-megapixel APS-C CMOS sensor, which strikes a commendable balance, offering sufficient detail for large prints and cropping while maintaining good low-light performance and manageable file sizes.4 The camera is powered by Canon's DIGIC X image processor, a component crucial for responsive control, rapid image processing, and minimizing electronic viewfinder (EVF) lag, all vital for tracking fast-moving subjects.4

Rumors for the R7 Mark II suggest a potentially groundbreaking upgrade in sensor technology: a "Stacked BSI CMOS" sensor.1 While the exact resolution is still rumored to be 24.1, 32.5, or even 40 megapixels 1, the "stacked" architecture is the key differentiator. This design allows for significantly faster data readout, which is paramount for mitigating rolling shutter effects during high-speed electronic shooting and enabling more rapid autofocus calculations. The processor is rumored to be "DIGIC X or Newer" 1, indicating that Canon will either optimize the existing powerful DIGIC X or introduce an even more advanced chip to handle the increased data throughput from the new sensor.

The combination of a rumored "Stacked BSI CMOS" sensor and "DIGIC X or Newer" processor for the R7 Mark II suggests a multi-faceted performance boost beyond raw speed.1 A stacked sensor can generate a massive amount of data very quickly. For the camera to fully leverage this speed, it requires a processor capable of handling this increased throughput efficiently. This synergy allows for higher sustained burst rates, as the processor can clear the buffer faster, enabling longer bursts. It also facilitates more advanced autofocus, as faster data from the sensor allows the processor to perform more complex real-time calculations for subject detection and tracking, leading to the rumored "AI Tracking".1 This means the camera can identify, lock onto, and follow subjects with greater precision and persistence.

Furthermore, enhanced processing power can lead to more effective in-camera noise reduction at higher ISOs (critical for action in varied lighting), better dynamic range processing, and potentially more sophisticated in-camera lens corrections. For video, faster processing is essential for handling high-resolution, high-frame-rate video 1 with minimal artifacts and efficient compression. This combined technological leap isn't just about isolated specification bumps; it suggests a fundamental improvement in the camera's overall ability to process information rapidly and intelligently. This capability underpins virtually every aspect of high-action photography: maintaining focus on fast-moving subjects, capturing peak action moments without distortion, and delivering clean, high-quality images even in challenging light. It means the camera can react faster, making it a significantly more reliable and effective tool for unpredictable and demanding action scenarios.

• Autofocus System: Precision in Motion

The EOS R7 is equipped with Canon's highly effective Dual Pixel CMOS AF II system.4 This system provides extensive coverage, tracking subjects over virtually 100% of the frame.4 A key strength for action photography is its advanced subject detection capabilities, which can accurately identify and track people (eyes/face/head/body), animals (dogs, cats, birds), and vehicles (racing cars or motorbikes).4 User feedback confirms its reliability, with the R7 being praised for locking onto a bird's eye and maintaining focus as subjects fly by or land.11 Furthermore, the R7's AF system is capable of precise focusing in challenging low-light conditions, down to -5EV.4 However, the R7's tracking can sometimes be challenged if subjects move very vigorously, rapidly change posture, or are temporarily obscured by obstructions.13

• The R7 Mark II is rumored to feature "AI Tracking" 1, building upon the R7's already robust Dual Pixel CMOS AF II with subject detection.9 This suggests an evolution of the autofocus system, likely incorporating more advanced machine learning algorithms. In contemporary camera technology, "AI Tracking" typically refers to autofocus systems that utilize machine learning and deep learning algorithms. These algorithms enable the camera to recognize subjects more intelligently, predict their movement patterns, and maintain focus even when the subject is briefly obscured, changes its orientation rapidly, or moves erratically. They go beyond simple pattern matching to understand the nature of the subject's movement.

The introduction of "AI Tracking" in the R7 Mark II would directly target and aim to resolve the specific tracking weaknesses identified in the current R7.13 For high-action photography—whether it is a bird darting through foliage, a soccer player weaving through defenders, or a race car briefly disappearing behind a barrier—unpredictability is the norm. An AF system that can better "hold" focus through these challenging moments means a significantly higher rate of sharp, in-focus images. This translates directly into more usable shots for the photographer, less frustration in the field, and ultimately, a more reliable and effective tool for capturing fleeting, critical moments in dynamic environments. It elevates the camera's performance from capable to exceptional in the most demanding situations.

• Continuous Shooting Speed and Buffer Management

The EOS R7 boasts impressive continuous shooting speeds, essential for capturing peak action. It can shoot at up to 15 frames per second (fps) with its mechanical shutter and a blistering 30 fps with its electronic shutter.4 The R7 Mark II is rumored to maintain these high speeds.1 While the 30fps electronic shutter is incredibly fast, it is important to note that it can introduce rolling shutter effects, particularly with very fast-moving subjects or quick camera panning, which can skew the image.7

• For sustained bursts, buffer depth and recovery time are paramount. The R7 has a buffer capacity of 126 JPEG frames or 93 RAW frames at 30fps.4 Achieving optimal buffer performance necessitates the use of fast UHS-II V90 memory cards.5 Tests show considerable variation in buffer clearing times depending on the specific card and file type chosen.5 For instance, with top-tier UHS-II V90 cards, clearing 41 RAW shots takes approximately 6.2 seconds, while 84 CRAW shots clear in about 7.73 seconds.5

A crucial, yet often overlooked, factor impacting buffer performance on the R7 is the "Digital Lens Optimizer" (DLO) setting. If set to "high," this in-camera lens correction feature can drastically reduce the camera's write speed to an excruciating 8 MB/s, leading to buffer clearing times of 90-120+ seconds after a burst.6 Conversely, setting DLO to "standard" restores expected write speeds of around 240 MB/s, making buffer clearing almost instantaneous for many users.6 This highlights the importance of understanding and managing in-camera processing settings for optimal high-action performance. The significant impact of the "Digital Lens Optimizer" (DLO) setting on buffer clearing times reveals a hidden trade-off between in-camera image processing and sustained high-action shooting.

When DLO is set to "high," the camera's image processor is heavily burdened with complex calculations before it can write the image data to the memory card. This diversion of processing power and internal bus bandwidth directly bottlenecks the data transfer from the buffer to the card, severely reducing the effective write speed. For high-action photography, sustained bursts are critical. A full buffer means the camera slows down or stops shooting until it clears, causing missed shots. The 90-120+ second clearing time is catastrophic in any dynamic scenario. This specific finding underscores the necessity for photographers to delve beyond basic specifications and understand the intricate interplay of camera settings, processor capabilities, and memory card speeds. An action photographer unaware of this DLO nuance could wrongly attribute poor performance to a faulty camera or slow memory card, leading to frustration and missed opportunities.

• In-Body Image Stabilization (IBIS): Steadying the Shot

The EOS R7 features a highly effective 5-axis In-Body Image Stabilizer (IBIS) system, offering up to 7-8 stops of protection from camera shake.1 This system is particularly powerful because it works collaboratively with the optical image stabilization (OIS) built into many Canon RF lenses.4 This "collaborative IS" provides an even greater combined stabilization effect, crucial for achieving sharp images, especially when shooting handheld with long telephoto lenses—a common practice in wildlife and sports photography.4 Even non-IS lenses (such as fast primes or adapted EF lenses) benefit significantly from the R7's IBIS, broadening lens compatibility and utility.4

The IBIS system offers several practical advantages for action photographers. It grants the freedom to shoot handheld even with powerful telephoto focal lengths (e.g., 400mm, 500mm), reducing the reliance on cumbersome tripods and increasing mobility in dynamic environments.15 By allowing for slower shutter speeds without introducing blur, IBIS enables photographers to use lower ISO settings in challenging light conditions (e.g., indoor sports, dawn/dusk wildlife), resulting in cleaner images with less noise.15 The IBIS system also supports specialized creative techniques. It can level sloping horizons in scenic pictures and features a dedicated "Panoramic Shot" scene mode that compensates for the swinging movement during panning.4 Crucially for action, the R7 includes a "Panning scene mode" where the camera's AF detects and tracks the moving subject while the Image Stabilizer corrects for vertical camera shake as the photographer pans. This significantly improves the success rate of achieving the desired motion blur effect in the background while keeping the subject relatively sharp.15

• The R7's sophisticated collaborative IBIS system, especially its integration with a dedicated "Panning scene mode" 15, transforms a challenging creative technique into a more accessible and reliable feature for action photographers. Panning is a highly valued technique in action photography used to convey a sense of speed and motion, but it is notoriously difficult to execute perfectly. By actively correcting for vertical camera shake during a horizontal panning motion, the R7 directly addresses one of the most common technical challenges in achieving successful panning shots. This makes the technically demanding panning technique more forgiving and reliable, empowering photographers to consistently achieve a specific, dynamic creative effect that previously required significant skill and practice.

4. Video Capabilities for Dynamic Action

The EOS R7 is a capable hybrid camera, offering 4K/60p video capture and Full HD up to 120p for super smooth slow-motion playback.4 The camera's IBIS system works collaboratively with optical lens stabilization and can be further enhanced by Movie Digital IS for exceptionally smooth footage, appearing as if shot on a dolly or gimbal.15

However, the R7's 4K Fine mode, while high quality, can exhibit noticeable rolling shutter effects when making sharp camera movements or with very fast-moving subjects.8 Additionally, higher 4K frame rates (e.g., 60p) are often line-skipped and may not be as detailed as the oversampled 24/30p modes.8 When recording High Frame Rate (HFR) movies (119.9 fps or 100.0 fps) for slow motion, sound is notably not recorded.16 For extended video recording, especially at higher resolutions and frame rates, external recorders are sometimes recommended to mitigate potential overheating issues and to utilize larger, more cost-effective storage drives.8

The R7 Mark II is rumored to bring significant upgrades to its video capabilities, including 4K 120p and 6K RAW video recording.1 These advancements would be a major leap forward, offering higher resolution slow-motion and maximum flexibility in post-production. The rumored jump to 4K 120p and 6K RAW for the R7 Mark II, especially when contrasted with the R7's existing rolling shutter issues in 4K 8 and lack of sound in HFR 16, signifies Canon's commitment to addressing critical video limitations for action videography. These rumored video upgrades are not just specification bumps; they are targeted solutions to critical pain points for action videographers. The reduction in rolling shutter, particularly if the 4K 120p is achieved with a full or near-full sensor readout (enabled by the rumored stacked sensor), would mean cleaner footage of fast-moving subjects. The jump to 4K 120p would allow for cinematic slow-motion at a much higher resolution, while 6K RAW would provide professional-grade flexibility. This move positions the R7 Mark II not just as a stills-centric camera with video capabilities, but as a genuinely capable hybrid tool for demanding content creators who need both high-speed stills and professional-grade slow-motion video for action sports, wildlife documentaries, and other dynamic content. It suggests Canon is actively listening to user feedback and leveraging its new sensor and processor technology to make its APS-C line highly competitive in the increasingly important hybrid market.

5. The APS-C Advantage: Reach and Portability

The Canon EOS R7, built around an APS-C sized sensor, inherently provides a 1.6x telephoto crop factor.4 This means that any lens mounted on the R7 effectively gains 1.6 times its stated focal length in terms of field of view compared to a full-frame camera. For example, a 400mm lens on the R7 provides the equivalent field of view of a 640mm lens on a full-frame system. This "free" telephoto reach is a significant advantage for wildlife and sports photographers, allowing them to feel "right next to your subject" and capture "frame-filling animal portraits and powerful action pictures that are full of impact" even from a considerable distance.4

The smaller APS-C sensor format also contributes to the EOS R7's overall portability.4 This translates to smaller and lighter camera bodies and often smaller, lighter, and more affordable lenses to achieve comparable telephoto reach to full-frame systems. This reduced size and weight are highly advantageous for photographers on long wildlife trips, covering extensive air shows, or moving quickly trackside at sporting events, where a more compact and less fatiguing system is paramount.4 The inherent 1.6x crop factor of the APS-C sensor creates a significant cost-efficiency advantage for action photographers compared to full-frame systems.4 In wildlife and sports photography, achieving sufficient "reach" (long focal lengths) is often critical to fill the frame with distant or dangerous subjects. Full-frame lenses designed for extreme telephoto are typically very large, heavy, and expensive. With the 1.6x crop factor, an APS-C camera like the R7 can achieve the field of view of a much longer full-frame lens using a shorter, more compact, and less expensive APS-C or full-frame lens. This translates directly into significant cost savings and dramatically improves portability, reducing physical fatigue during long shooting sessions. The system becomes more accessible to a broader range of photographers who might not have the budget or physical capacity for top-tier full-frame telephoto setups.


6. Lens Ecosystem for Action Photography

The Canon RF mount offers a rapidly expanding and technologically advanced selection of lenses, many of which are ideally suited for the demands of high-action photography. The wide diameter and short flange distance of the RF mount allow for innovative optical designs, contributing to sharpness and performance.

For capturing fast-moving subjects in sports and wildlife, several RF lenses stand out:

• Canon RF 100-400mm F5.6-8 IS USM: This is a versatile and relatively compact telephoto zoom lens that provides excellent reach for outdoor sports and wildlife.3 While its variable aperture means it is best suited for well-lit daytime conditions, its built-in Image Stabilization (IS) and compatibility with the R7's IBIS make it a strong contender for many action scenarios.

• Canon RF 70-200mm F2.8 L IS USM: A professional-grade "L" series lens, this zoom offers a wide, constant f/2.8 aperture, which is invaluable for achieving fast shutter speeds in lower light (e.g., indoor sports) and for creating excellent subject isolation with blurred backgrounds.3 It boasts very fast autofocus and robust optical image stabilization 3, making it an all-around top-tier choice for both indoor and outdoor action.

• Canon RF 100-500mm F4.5-7.1 L IS USM: This telephoto zoom lens provides even greater reach, making it highly desirable for distant wildlife or large outdoor sports venues.3 Its "L" designation signifies professional build and optical quality. It works particularly well with Canon Extender RF 1.4x for extreme telephoto needs, extending the effective focal length range to 140-700mm on the R7 Mark II.3 However, it is important to note its compatibility with teleconverters is limited to the 300-500mm zoom ranges.3

• Consideration: Canon RF 75-300mm F4-5.6: While a budget-friendly telephoto zoom option, this lens is based on an older design with a slow autofocus motor and lacks optical image stabilization.3 For serious high-action photography, its performance limitations would likely be a significant hindrance, even with the R7's IBIS.

A critical advantage of the Canon RF system with the R7/R7 Mark II is the seamless collaboration between the camera's In-Body Image Stabilization (IBIS) and the Optical Image Stabilization (OIS) built into many RF lenses.3 This collaborative approach provides enhanced image stabilization, delivering up to 7-8 stops of shake correction.1 This synergy is invaluable for ensuring sharp images when shooting handheld with long telephoto lenses, even in challenging lighting conditions, and for facilitating creative techniques like panning. The synergy between the R7/R7 Mark II's advanced IBIS and the optical image stabilization (OIS) in RF lenses creates a powerful stabilization ecosystem that significantly expands the range of shooting conditions for action photographers.3 This means greater flexibility in choosing lenses (even non-IS primes benefit from IBIS), improved low-light performance without resorting to excessively high ISOs, and a higher probability of sharp images when shooting handheld with long telephoto lenses, which are common in action photography. For action photographers, this translates to more confident and consistent handheld shooting, reducing the need for tripods or monopods and increasing mobility and responsiveness in dynamic shooting environments. The ability to use slower shutter speeds due to superior stabilization means photographers can maintain lower ISO settings, resulting in cleaner images with less digital noise, a significant advantage when shooting action in challenging lighting.


7. Anticipated Advancements: R7 Mark II vs. R7

The original Canon EOS R7 established a strong foundation for high-action APS-C mirrorless cameras with its 32.5MP sensor, 30fps electronic shutter, and advanced Dual Pixel CMOS AF II.9 The R7 Mark II is anticipated to build upon this, not merely with incremental changes, but with several key technological leaps.1

Key comparative upgrades include:

Sensor Technology: The most significant rumored upgrade for the Mark II is the adoption of a "Stacked BSI CMOS" sensor.1 This is a major departure from the R7's standard APS-C CMOS sensor 9 and is critical for improving readout speed, reducing rolling shutter, and enabling higher performance. The rumored resolution could be 24.1, 32.5, or 40 megapixels.1

Image Processor: While the R7 already utilizes the powerful DIGIC X processor 9, the Mark II is rumored to feature a "DIGIC X or Newer".1 This suggests either an optimized version of the current chip or a completely new processor designed to handle the increased data flow from the stacked sensor and power more advanced features.

Autofocus System: The R7's Dual Pixel CMOS AF II is already highly capable with advanced subject detection.9 The Mark II is rumored to introduce "AI Tracking" 1, indicating a further evolution in its predictive and persistent autofocus capabilities, likely addressing the R7's occasional struggles with highly erratic or obstructed subjects.13

Continuous Shooting: Both models are expected to offer the same impressive continuous shooting speeds: 15fps mechanical and 30fps electronic.1 The key difference for the Mark II would be the quality of the electronic shutter performance due to the stacked sensor, potentially mitigating rolling shutter.

Video Capabilities: This is another area of substantial rumored improvement for the Mark II, with anticipated 4K 120p and 6K RAW video.1 This is a significant upgrade from the R7's 4K 60p and 1080p 120p 8, offering higher resolution slow-motion and greater post-production flexibility.

Electronic Viewfinder (EVF): The Mark II is rumored to feature a higher resolution EVF at 3.69M dots, a noticeable improvement over the R7's 2.36M dot EVF.1 A sharper EVF enhances the tracking and composition experience, especially for fast-moving subjects.

In-Body Image Stabilization (IBIS): Both the current R7 and the rumored Mark II are expected to offer highly effective 7-8 stops of in-body image stabilization 1, a feature that is already a game-changer for handheld action photography.4

The consistent rumored improvements in the R7 Mark II across multiple performance vectors, rather than isolated upgrades, suggests a holistic design philosophy aimed at creating a truly professional-grade APS-C action camera.1 Each of these rumored upgrades directly addresses a key performance area crucial for high-action photography: the stacked sensor for faster readout and reduced rolling shutter, AI Tracking AF for more precise and persistent subject tracking, 4K 120p / 6K RAW for higher quality and frame rate video, and a higher resolution EVF for improved viewing and tracking. The simultaneous nature of these upgrades implies a synergistic design: a stacked sensor feeds faster data to an AI-enhanced processor, enabling more accurate and persistent AF, which in turn supports higher quality and frame rate video.

A better EVF makes it easier for the photographer to effectively utilize these internal advancements. This isn't just a list of features; it's an integrated system designed from the ground up for peak performance in demanding, fast-paced environments. This holistic approach suggests Canon is aiming to redefine what is possible in the APS-C segment for action photography. By bringing features typically found in much more expensive professional full-frame cameras (e.g., stacked sensors in the R3) down to an APS-C body, Canon is signaling its intent to aggressively compete with and potentially surpass other brands' flagship APS-C offerings.1 This move could set a new benchmark for performance and capabilities in the high-end APS-C mirrorless market, making it a truly compelling alternative for many professional and serious enthusiast action photographers.

Canon PowerShot Cameras to be Released 2025 - 2026

8. Conclusion: The Verdict on the EOS R7 Mark II as a High-Action Camera

Based on the compelling rumors, the Canon EOS R7 Mark II is poised to be an exceptionally capable and potentially class-leading high-action camera within the APS-C mirrorless segment. Its rumored stacked BSI sensor and advanced AI Tracking autofocus represent significant technological leaps, directly addressing areas where the original R7 could be further optimized for the most demanding action scenarios, such as electronic shutter rolling shutter and persistent tracking through momentary obstructions.1 The existing R7's robust foundation, including its 32.5MP resolution, impressive 30fps electronic shutter, highly effective Dual Pixel CMOS AF II, and game-changing collaborative IBIS, provides an excellent starting point.4 The inherent APS-C crop factor continues to offer a valuable telephoto reach advantage and system portability, making it an attractive and often more cost-effective option for wildlife and sports photographers.4 The rumored video capabilities, particularly 4K 120p and 6K RAW, would further solidify its position as a formidable hybrid tool for dynamic content creation.1

While the Mark II promises significant advancements, photographers should remain mindful of practical considerations. Investing in fast UHS-II V90 memory cards will be non-negotiable for maximizing buffer depth and minimizing recovery times during sustained high-speed shooting.5 Furthermore, awareness and proper management of in-camera processing settings, such as the Digital Lens Optimizer, will be crucial to avoid performance bottlenecks.6 The potential for rolling shutter with the electronic shutter, though likely mitigated by a stacked sensor, will require real-world testing. Careful lens selection, leveraging the excellent and growing Canon RF ecosystem, will be paramount to fully unlock the camera's high-action potential.3

If the rumored specifications materialize, the Canon EOS R7 Mark II will not just be an incremental upgrade but a substantial evolution, solidifying Canon's position in the high-performance APS-C market. It is set to offer a compelling blend of speed, precision, and versatility, making it a highly attractive option for serious action and wildlife photographers." (Source: Google Gemini)

9. Works / References Cited

1. The Highly Anticipated Canon EOS R7 Mark II - Vernon Chalmers Photography, accessed May 25, 2025, https://www.vernonchalmers.photography/2025/03/the-anticipated-canon-eos-r7-mark-ii.html

2. Canon EOS R7 Mark II rumored for 2025 with these significant upgrades – watch out Fujifilm, accessed May 25, 2025, https://www.techradar.com/cameras/mirrorless-cameras/canon-eos-r7-mark-ii-rumored-for-2025-with-these-significant-upgrades-watch-out-fujifilm

3. Solved: Lense Suggestion Help for EOS R7 - Canon Community, accessed May 25, 2025, https://community.usa.canon.com/t5/EOS-DSLR-Mirrorless-Cameras/Lense-Suggestion-Help-for-EOS-R7/td-p/548352

4. Canon EOS R7 Camera, accessed May 25, 2025, https://www.canon.com.cy/cameras/eos-r7/

5. The Best Canon R7 Memory Cards With Speed & Buffer Tests - RF ..., accessed May 25, 2025, https://rfshooters.com/blog/cameras/canon-r7/memory-cards/

6. R7 write speed is only 8 MB/s (not a typo) : r/canon - Reddit, accessed May 25, 2025, https://www.reddit.com/r/canon/comments/16wlctn/r7_write_speed_is_only_8_mbs_not_a_typo/

7. Explaining Canon R7 Drive/Shutter Mode - YouTube, accessed May 25, 2025, https://www.youtube.com/watch?v=bDSgmVvIvuA&pp=0gcJCdgAo7VqN5tD

8. Best video settings for Canon R7 - Reddit, accessed May 25, 2025, https://www.reddit.com/r/canon/comments/1g52wn1/best_video_settings_for_canon_r7/

9. Specifications & Features - Canon EOS R7, accessed May 25, 2025, https://www.canon-europe.com/cameras/eos-r7/specifications/

10. Canon EOS R7 Camera Specifications | Sans Mirror | Thom Hogan, accessed May 25, 2025, https://www.sansmirror.com/cameras/camera-database/canon-eos-r-mirrorless/canon-eos-r7.html

11. Canon R7: One Year Later – Still the Ultimate Nature Photography Powerhouse for Beginners | CKTechCheck, accessed May 25, 2025, https://cktechcheck.com/canon-r7-one-year-later/

12. Automatic Subject Tracking Autofocus on the EOS R7 and EOS R10 - Canon Academy, accessed May 25, 2025, https://www.academy.canon-cna.com/en/fundamentals/automatic-subject-tracking-autofocus-on-the-eos-r7-and-eos-r10

13. Product Manual : EOS R7 : Selecting the AF Area - Canon, accessed May 25, 2025, https://cam.start.canon/ky/C005/manual/html/UG-05_AF-Drive_0070.html

14. EOS R7 Advanced User Guide - Canon Global, accessed May 25, 2025, https://global.canon/ja/c-museum/wp-content/uploads/2023/06/dslr901_en.pdf

15. Canon EOS R7 - In-Body Image Stabilizer (IBIS), accessed May 25, 2025, https://en.canon-cna.com/cameras/eos-r7/in-body-image-stabilizer/

16. EOS R7: High Frame Rate - Canon Knowledge Base, accessed May 25, 2025, https://support.usa.canon.com/kb/s/article/ART182576

10. Report Compiler: Google Gemini Deep Research

11. Disclaimer

The 'A Possible Canon EOS R7 Mark II To Be More Robust' report was compiled by Google Gemini (Deep Research) on the request of Vernon Chalmers Photography. Vernon Chalmers Photography was not instructed by any person, public / private organisation or 3rd party to request compilation and / or publication of the report on the Vernon Chalmers Photography website.

This independent status 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 this A Possible Canon EOS R7 Mark II To Be More Robust (Google Gemini Deep Research) and / or Vernon Chalmers Photography (in the capacity as report requester) disclaim any liability for any inaccuracies, errors, or omissions and will not be held responsible for any decisions made based on this information.

Canon Rumours Disclaimer

Vernon Chalmers on Photography and Presence

Vernon Chalmers’ philosophy of Photography and Presence represents a profound synthesis of phenomenological seeing, existential awareness, and aesthetic mindfulness.

Double-Coloured Sunbird : Kirstenbosch Garden, Cape Town

“A sunbird perched on a strelitzia, reminding us that beauty isn’t measured in size - but in presence.” - Vernon Chalmers

"My camera is no longer a device. It is a pulse. A breath. A witness to the slow unfolding of a consciousness that no longer rushes". - Vernon Chalmers

"This essay explores Vernon Chalmers’ notion of Photography and Presence as a meditative - existential inquiry into perception, awareness, and the phenomenology of lived experience. Drawing from phenomenology, existential philosophy, and the psychology of attention, Chalmers’ photographic practice is interpreted as an embodied form of consciousness - one that situates the act of photographing within the immediacy of being. The study contextualizes his approach within a wider philosophical tradition, referencing thinkers such as Heidegger, Merleau-Ponty, and Sartre, while integrating contemporary understandings of mindfulness and aesthetic perception. The analysis concludes that Chalmers’ photographic method transcends documentation, becoming a form of existential engagement - where the camera mediates the dialectic between observer and observed, presence and absence, time and timelessness.

Introduction

For Vernon Chalmers, photography is not merely a representational act or a technical pursuit - it is a phenomenology of presence, an exploration of the lived and conscious encounter between the self, the camera, and the world. Chalmers’ body of work, especially his reflective writings on Applied Existential Photography, reveals an ongoing inquiry into the conditions of perception and the nature of photographic awareness. In his philosophy, photography becomes both a medium of seeing and a method of being, one that integrates aesthetic, existential, and psychological dimensions into a unified field of experience.

The concept of presence - understood here as the fullness of awareness in the moment of engagement - plays a pivotal role in his understanding of photographic practice. Chalmers’ vision aligns with the phenomenological imperative to “return to the things themselves” (Husserl, 1970), emphasizing the immediacy of experience as it unfolds before consciousness. His engagement with coastal landscapes, birds in flight, and transient light across False Bay in Cape Town reveals not just visual observation, but a philosophical inquiry into how being and seeing coalesce in the act of image-making.

This essay explores Chalmers’ articulation of presence within photography, situating it within philosophical frameworks that bridge phenomenology, existentialism, and psychology. It argues that Chalmers’ photography operates as a contemplative practice - anchoring attention, dissolving temporal fragmentation, and restoring the authenticity of being through aesthetic encounter.

Photography as a Phenomenology of Presence

Phenomenology, as advanced by Edmund Husserl (1970) and later expanded by Maurice Merleau-Ponty (1962), proposes that consciousness is always consciousness of something - that is, intentional and directed toward the world. For Chalmers, photography functions precisely within this intentional structure. The camera becomes an extension of perception - a means through which the photographer dwells in the world rather than merely capturing it. Each photograph embodies what Merleau-Ponty calls the intertwining of the visible and the invisible (1968), where perception and being form a reciprocal relationship.

In his photographic philosophy, Chalmers (2025) often emphasizes the act of “being present” during photographic encounters - an embodied attentiveness that transcends visual recognition. To photograph, in this sense, is not to collect images but to inhabit moments. The seascapes and birds he observes are not subjects of distance but partners in a shared field of awareness. Through the lens, the self becomes situated within an unfolding horizon of time, light, and motion.

This alignment with phenomenology situates Chalmers within a tradition that views artistic perception as revelatory of being itself. Heidegger (1971) describes art as a mode of unconcealment - a bringing forth of truth (aletheia). In Chalmers’ imagery, this unconcealment occurs through the stillness of presence, where the world reveals itself not as objectified content but as a field of lived participation. Each image thus becomes a record of presence - a moment of existential authenticity.

Peregrine Falcon High in the Sky : From Arnhem, Milnerton

Presence, Temporality, and the Aesthetic Moment

Presence in photography is not a static condition but a dynamic relation to time. For Chalmers, photographing is an act of temporal suspension: the camera mediates between the flow of life and the permanence of form. This temporal dialectic recalls Roland Barthes’ (1981) assertion that every photograph is both that-has-been and that-is-no-more. Yet Chalmers’ philosophy diverges from Barthes’ melancholic reading by emphasizing continuity rather than absence. Presence, for Chalmers, is not what time erases, but what consciousness redeems.

In the contemplative stillness of his practice, Chalmers embodies what Csikszentmihalyi (1990) terms a flow state—a complete absorption in activity that merges awareness and action. Time, during such moments, becomes nonlinear. The photographer does not merely anticipate or recall but inhabits the eternal now. This condition of temporal openness resonates with Heidegger’s (1962) conception of Being-toward-time, wherein presence involves both projection and retrieval - a synthesis of memory and anticipation within the lived instant.

Aesthetic presence, then, becomes a mode of temporal grounding. When Chalmers photographs the movement of birds or the reflective sea at sunrise, he captures not only the visual event but also the temporality of awareness itself. The photograph materializes a moment of being that, though ephemeral, sustains a timeless resonance. As philosopher Henri Bergson (1911) suggested, perception is always an act of duration—a condensation of time into consciousness. Chalmers’ work exemplifies this condensation, translating fleeting perception into lasting visual form.

Vernon Chalmers Conscious Intelligence

Photography, Mindfulness, and Embodied Awareness

Chalmers’ engagement with photography as presence also reflects an alignment with mindfulness and psychological theories of awareness. The mindfulness movement, rooted in Buddhist contemplative traditions and adapted in contemporary psychology (Kabat-Zinn, 2003), defines presence as non-judgmental awareness of the present moment. In this framework, the act of photographing  - when undertaken with intention and openness - can become a mindfulness practice in itself.

Chalmers’ approach to the photographic process mirrors this mindful stance. The act of waiting for light, observing patterns of motion, and engaging with environmental stillness requires what psychologists term sustained attention (Brown et al., 2007). His work illustrates how photography can cultivate attentional stability and perceptual clarity, transforming observation into a meditative discipline. The camera, rather than distracting from presence, becomes an instrument of awareness - a focusing device for consciousness.

This mindful dimension bridges the psychological and the philosophical. In existential terms, presence involves an authentic confrontation with being - what Sartre (1943) described as the consciousness of existence itself. Photography thus becomes an existential exercise: it requires acknowledging transience without denial, perceiving impermanence without retreat. Chalmers’ reflective writings on the experience of photographing coastal landscapes suggest precisely this awareness - that beauty arises from the tension between stillness and change, permanence and impermanence.

 

Inside of a Gazania Wildflower : Kirstenbosch Garden

Existential Dimensions of Presence in Photography

Chalmers’ photographic inquiry into presence is also deeply existential. His attention to solitude, temporality, and perception reflects what existential philosophers regard as the fundamental conditions of human existence. For Sartre (1943), consciousness is defined by nothingness - a perpetual transcendence of what is given. In this sense, the photographer’s gaze is always reaching beyond the visible, seeking meaning within absence.

Similarly, Chalmers’ photographic process involves a dialogue between being and nothingness. Each image represents both presence (what is seen) and absence (what is lost). The photograph becomes a site of existential negotiation - between the desire to hold the moment and the impossibility of doing so. As Susan Sontag (1977) observed, every photograph is an act of appropriation, yet Chalmers resists this possessive impulse. His photography, rather than capturing, witnesses - acknowledging the autonomy of phenomena without imposing ownership.

Moreover, Chalmers’ reflective writing often emphasizes self-awareness and existential authenticity. The process of photographing, for him, is not only external observation but internal revelation. As Heidegger (1962) suggests, authenticity arises when one confronts one’s own being as finite and situated. In Chalmers’ practice, this authenticity is mediated through the act of seeing - through recognizing oneself as part of the scene one observes. The seascape, the bird, and the horizon all reflect the existential structure of human awareness: to be is to be-in-the-world (Heidegger, 1962), to exist in relation to other presences.

Purple Heron Above Table Bay Nature Reserve : Woodbridge Island

Presence and the Poetics of Perception

Chalmers’ notion of presence also possesses a poetic dimension. Photography, in his view, is not only descriptive but evocative. The poetic arises in the meeting between perception and imagination - where what is seen gestures toward what is felt. Gaston Bachelard (1958) argued that poetic imagination transforms ordinary perception into an experience of reverie and wonder. Chalmers’ images, often depicting simple scenes - reflections on water, passing clouds, or avian flight - carry this quiet poetics of perception.

His work thus reveals what philosopher Arnold Berleant (1991) calls aesthetic engagement: the dissolution of boundaries between perceiver and perceived. In such moments, photography transcends its instrumental purpose to become a relational art. The viewer of Chalmers’ images is invited not to consume but to enter - to share in the contemplative presence that gave rise to the image. Each photograph becomes an open horizon, an invitation to dwell.

This poetic presence is inseparable from the ethics of seeing. To be present through photography is to witness without dominance - to allow phenomena their own being. This aligns with Emmanuel Levinas’ (1969) ethical phenomenology, which understands presence as responsibility: the openness to the other as other. Chalmers’ respectful attention to the natural world reflects this ethos of regard - an existential humility before the mystery of appearance.

Presence, Technology, and the Digital Paradigm

In contemporary digital culture, the notion of presence faces profound challenges. The proliferation of images has transformed photography from an act of contemplation into one of instant consumption. Chalmers’ philosophy thus stands as a counterpoint to this acceleration. His insistence on slowness, awareness, and intentional engagement constitutes a critique of what philosopher Byung-Chul Han (2017) calls the disappearance of the contemplative gaze in the age of hypervisibility.

For Chalmers, technology is not to be rejected but rehumanized. The digital camera or smartphone, when used with presence, can become a tool for awareness rather than distraction. His emphasis on Applied Existential Photography advocates precisely this reintegration of technology into mindful seeing - where technique serves perception rather than replaces it. In this sense, his philosophy contributes to the discourse on digital phenomenology, emphasizing how tools can mediate authentic presence when used consciously.

Furthermore, Chalmers’ engagement with online platforms and educational writing demonstrates how presence can extend beyond the moment of capture into reflection and sharing. The process of editing, writing, and teaching becomes part of a continuum of presence - a dialogical extension of the original encounter. Photography, in his framework, thus becomes a holistic practice integrating perception, creation, and communication.

Presence as Reflective Practice

Chalmers’ emphasis on presence extends beyond image-making into self-reflective practice. His written reflections on photography often articulate awareness as both inward and outward - what philosopher David Abram (1996) describes as the reciprocity of perception. To be present is to sense oneself as part of the world that one perceives. Photography, therefore, becomes a mirror of consciousness - a means to explore one’s own perceptual identity.

This reflective practice resonates with humanistic psychology, particularly Carl Rogers’ (1961) concept of congruence, the alignment between inner experience and external expression. Chalmers’ photography exemplifies this congruence: the images he produces reflect the state of presence he inhabits. The authenticity of the image thus corresponds to the authenticity of the moment.

Moreover, presence as reflective practice involves an ethics of attention. As psychologist Erich Fromm (1976) noted, attention is an act of love - a recognition of the world’s worthiness of care. Chalmers’ work embodies this ethic through his quiet attentiveness to nature and place. His photographs remind viewers that to see is already to care; that perception, when suffused with presence, is itself a moral gesture.

Helmeted Guinea Fowl Portrait : Kirstenbosch Garden   

Conclusion

Vernon Chalmers’ philosophy of Photography and Presence represents a profound synthesis of phenomenological seeing, existential awareness, and aesthetic mindfulness. His photographic practice unfolds as a form of being-in-the-world - a continual attunement to the interplay of light, time, and consciousness. Presence, in his vision, is not a static attribute but a dynamic relation: a living dialogue between the photographer, the world, and the act of seeing itself.

Through the lens of phenomenology, Chalmers’ work reveals photography as an embodied consciousness - a participation in being rather than its mere depiction. Through existential reflection, it becomes a confrontation with transience and authenticity. Through mindfulness and psychology, it becomes a practice of attention and care. His photography thus restores to the medium its original philosophical power: to reveal the world not as image but as experience.

In an era where speed and distraction dominate visual culture, Chalmers’ philosophy invites a return to slowness, awareness, and presence. Photography, in his hands, becomes a meditative art of being - an affirmation that to see truly is to exist fully." (Source: ChatGPT 2025)

References

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

Bachelard, G. (1958). The poetics of space. Beacon Press.

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

Berleant, A. (1991). Art and engagement. Temple University Press.

Brown, K. W., Ryan, R. M., & Creswell, J. D. (2007). Mindfulness: Theoretical foundations and evidence for its salutary effects. Psychological Inquiry, 18(4), 211–237. https://doi.org/10.1080/10478400701598298

Bergson, H. (1911). Matter and memory. George Allen & Unwin.

Chalmers, V. (2025). Applied Existential Photography: A personal reflection on awareness, perception, and being.

Csikszentmihalyi, M. (1990). Flow: The psychology of optimal experience. Harper & Row.

Fromm, E. (1976). To have or to be? Harper & Row.

Han, B.-C. (2017). The disappearance of rituals: A topology of the present. Polity Press.

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

Heidegger, M. (1971). Poetry, language, thought. Harper & Row.

Husserl, E. (1970). The crisis of European sciences and transcendental phenomenology. Northwestern University Press.

Kabat-Zinn, J. (2003). Mindfulness-based interventions in context: Past, present, and future. Clinical Psychology: Science and Practice, 10(2), 144–156. https://doi.org/10.1093/clipsy.bpg016

Levinas, E. (1969). Totality and infinity: An essay on exteriority. Duquesne University Press.

Merleau-Ponty, M. (1962). Phenomenology of perception. Routledge.

Merleau-Ponty, M. (1968). The visible and the invisible. Northwestern University Press.

Rogers, C. R. (1961). On becoming a person. Houghton Mifflin.

Sartre, J.-P. (1943). Being and nothingness. Gallimard.

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

Vernon Chalmers Applied Existential Photography

Vernon Chalmers’ Applied Existential Photography represents a synthesis of art, philosophy, and psychology.

Kalk Bay with Simon's Town in the Background : False Bay

"Vernon Chalmers’ photographic practice can be understood as a philosophical and psychological inquiry into being, perception, and meaning. His work—rooted in the lived experience of the Cape Peninsula—extends photography beyond aesthetic or technical representation toward an applied existential philosophy. Through reflective engagement with the self, the environment, and the camera, Chalmers constructs a phenomenology of seeing that integrates the existential dimensions of human consciousness. This essay examines Chalmers’ Applied Existential Photography as an intersubjective framework that merges the act of photographing with self-reflection, philosophical awareness, and ontological presence. Drawing from existential philosophy, phenomenology, and cognitive psychology, this paper argues that Chalmers’ photographic ethos is not only visual but also meditative and ethical: it reclaims the photographer’s role as a conscious participant in the unfolding of being.

Introduction

The idea of applied existential photography arises from an understanding of photography not merely as image production but as a mode of being-in-the-world. For Vernon Chalmers, photography becomes a praxis of existential reflection—a lived inquiry into perception, time, and the self. His sustained engagement with the landscapes of False Bay, the fluidity of light, and the fleeting presence of birds articulates a deep phenomenological sensitivity to the world around him. Within his oeuvre, Chalmers’ images function as meditations on presence and impermanence, echoing the existential question of what it means to be aware, embodied, and responsive to the moment.

Applied existential photography, as developed in this analysis, is both a practice and a philosophy: it uses photography as a means of existential inquiry, integrating aesthetic awareness with introspection and philosophical consciousness. It assumes that every image contains not just a subject but a state of being. Following thinkers such as Jean-Paul Sartre (1943/1992), Maurice Merleau-Ponty (1945/2012), and Rollo May (1983), Chalmers’ practice situates the photographer at the intersection of perception, meaning, and existence.

Existential and Phenomenological Foundations

Existentialism, as a philosophical movement, emphasizes the individual’s confrontation with meaning, freedom, and authenticity. Photography, in Chalmers’ practice, embodies these concerns through the tension between what is seen and how it is seen. According to Sartre (1943/1992), consciousness is always directed toward something - it is intentional. Similarly, the photographic gaze is intentional: it frames, isolates, and invests meaning into the visible. In Chalmers’ work, this directedness becomes a form of existential intentionality - a way of acknowledging the world through active seeing.

The phenomenological grounding of Chalmers’ photography is equally significant. Merleau-Ponty’s (1945/2012) concept of embodied perception suggests that vision is not a detached act of cognition but a lived, bodily engagement with the world. Chalmers’ slow, attentive process - often characterized by waiting for light transitions or bird movements - reveals an embodied patience akin to phenomenological reduction. Through stillness and receptivity, he allows perception to disclose the world’s intrinsic presence.

Photography, then, becomes a dialogue between self and world. The image is not a product of separation but of communion. As Heidegger (1927/1962) reminds us, being is always being-in-the-world - a state of entanglement rather than detachment. In this sense, Chalmers’ photography can be read as an applied Heideggerian meditation on dwelling, revealing a harmony between technology (the camera), environment, and consciousness.

Arum Lily : Kirstenbosch Garden

"The Arum lily does not ask to be seen - it simply is. In its curve, I glimpse the quiet nature of becoming. No striving. Just presence." - Vernon Chalmers

The Concept of Applied Existential Photography

Applied existential photography is not a formalized school but a conceptual synthesis - a way of translating existential awareness into photographic method. For Chalmers, the term “applied” suggests that existential thought is not confined to abstract philosophy but can be practiced through creative experience. His photographic sessions become spaces of contemplation and psychological presence, where the act of photographing transforms perception itself.

Applied existential photography thus operates through three primary dimensions:

• Existential Awareness: The photographer recognizes the contingency of being - the fact that each moment, subject, and light condition is unrepeatable. Photography becomes a means to acknowledge and affirm impermanence.

• Phenomenological Embodiment: The act of seeing is grounded in the body’s sensory awareness. The camera becomes an extension of perceptual consciousness rather than a barrier

• Reflective Integration: Each photograph functions as a mirror for self-reflection, allowing the photographer to examine inner states, emotions, and awareness.

In this framework, the photograph ceases to be a static artifact. It becomes an existential record - a trace of consciousness engaging the world. As May (1983) noted, creativity itself is an existential act, a “meeting of the inner and outer worlds.” Chalmers’ applied approach manifests this meeting in every frame.

Photography as Existential Encounter

For Chalmers, photography is not simply about representation; it is an encounter with being. Standing at the shore of False Bay, camera in hand, he inhabits what Simone de Beauvoir (1947/1996) might call a situation—a convergence of self, freedom, and the other (in this case, the natural world). The bird, the tide, and the horizon become participants in a shared phenomenological event.

Such encounters can be understood through Buber’s (1923/1970) I–Thou relation, where the world is not objectified but addressed as a living presence. Chalmers’ photographs of seascapes and birds in flight exemplify this dialogical stance. The lens mediates, but does not dominate; it facilitates communion.

This existential encounter also entails acceptance of temporality. Every photograph is a record of time’s passage - a fleeting instant fixed into memory. Yet, paradoxically, the image also reminds the photographer of impermanence. In this sense, Chalmers’ practice mirrors Camus’ (1942/1991) absurdism: the recognition that beauty and transience coexist, and that meaning must be created through presence, not permanence.

Applied existential photography thus carries both aesthetic and ethical dimensions. The photographer assumes responsibility for how the world is seen, interpreted, and shared. The image becomes a statement of existential honesty - a reflection of one’s encounter with truth, light, and vulnerability.

Citrus Swallowtail Butterfly : Kirstenbosch Garden

Perception, Consciousness, and the Camera

Photography operates at the intersection of perception and consciousness. Chalmers’ interest in cognition and psychology informs his view of the camera as a mediating instrument of awareness rather than mere documentation. In psychological terms, his process resonates with Csikszentmihalyi’s (1990) concept of flow, wherein attention and action merge in a state of deep absorption.

This alignment of consciousness and perception creates what could be termed existential flow - a condition in which the photographer transcends self-consciousness and becomes one with the act of seeing. In such moments, the distinction between subject and object dissolves; perception becomes a holistic awareness.

Furthermore, Chalmers’ approach incorporates metacognition, or reflection upon one’s own thought process. Each image emerges not only from sensory experience but also from introspection - a layered awareness of being both observer and participant. Kabat-Zinn (1994) defines mindfulness as paying attention in a particular way: on purpose, in the present moment, and nonjudgmentally. Chalmers’ photography embodies this mindfulness, transforming the camera into an instrument of awareness.

Thus, applied existential photography situates the photographer within a continuum of perception - bridging consciousness, environment, and aesthetic experience. It becomes an applied psychology of being, using visual art as both method and metaphor for existential reflection.

Existential Aesthetics: Light, Time, and Solitude

Light functions as a central metaphor in Chalmers’ visual philosophy. It is both literal and symbolic: illuminating not only the landscape but also the inner dimensions of awareness. In the existential sense, light corresponds to clarity of being - the unveiling of what is. Heidegger (1935/2001) uses the term aletheia to denote truth as unconcealment, the process through which being reveals itself. Chalmers’ photographs enact this unconcealment through the patience of observation and the discipline of waiting for the right light.

Time, likewise, plays a fundamental role. Every exposure captures a fragment of temporality, an instant that will never recur. Henri Bergson’s (1911/2001) notion of duration - time as continuous flow rather than discrete units - helps articulate Chalmers’ temporal sensibility. His long hours by the sea or in natural habitats reveal an intuitive grasp of duration: time experienced as lived consciousness rather than chronological measurement.

Solitude, too, is integral. Existential reflection requires distance from distraction. Chalmers’ solitary practice echoes Kierkegaard’s (1849/2013) assertion that truth is found in inwardness. The camera, in his hands, becomes a companion in solitude, guiding him toward self-awareness rather than isolation.

Through light, time, and solitude, Chalmers translates existential awareness into aesthetic form - making the invisible visible, and the transient eternal.

Yellow-Billed Ducks Above Table Bay Nature Reserve, Woodbridge Island

"Horizontal awareness: a lesson in precision and presence from nature." - Vernon Chalmers

Photography as Self-Reflection and Ethical Awareness

Applied existential photography is not merely descriptive; it is also reflective and ethical. Each image becomes a mirror in which the self is examined, not for vanity but for understanding. In Sartrean terms, the photograph can evoke bad faith - a false self constructed through appearance - or it can serve authenticity by acknowledging vulnerability and freedom.

Chalmers’ reflective writing on photography often emphasizes the why behind image-making. This self-questioning reveals an ethical dimension to his practice: the awareness that every act of seeing involves choice, responsibility, and relation. The ethical imperative lies in respecting the subject’s autonomy - whether human, animal, or landscape - and in avoiding objectification.

This reflective ethic aligns with Levinas’ (1961/1969) notion of responsibility to the Other. To photograph ethically, one must first see the Other not as object but as presence. Chalmers’ empathetic approach to nature - especially his sensitivity to the fragility of ecosystems and the grace of birds - manifests this ethical seeing.

Applied existential photography, therefore, becomes a form of moral phenomenology: it integrates seeing with care, presence with respect, and artistry with humility.

Conscious Intelligence in Authentic Photography

Existential Psychology and the Sense of Self

Chalmers’ photographic philosophy intersects deeply with existential psychology, particularly in exploring the sense of self. Existential psychology views the self as dynamic, emergent, and relational. May (1983) and Yalom (1980) emphasize that the authentic self arises from confronting anxiety, choice, and mortality. Photography, as practiced by Chalmers, provides a contemplative arena for this confrontation.

The act of photographing becomes a dialogue between the conscious and unconscious self. Through visual engagement, inner states are externalized - translated into image. This externalization fosters self-reflexivity: the awareness of one’s position within experience. Over time, the photographic archive functions as a visual autobiography of being, chronicling shifts in perception, emotion, and philosophical understanding.

From a psychological standpoint, such a practice supports self-coherence. It integrates cognitive, emotional, and existential dimensions of identity. The result is what might be termed a photographic phenomenology of selfhood: an ongoing process through which the photographer not only records but also becomes through the act of photographing.

Table Mountain After Sunset : Milnerton Lagoon, Woodbridge Island

Applied Existential Photography as Contemporary Practice

In the context of contemporary photographic discourse, Chalmers’ approach diverges from the dominant currents of digital immediacy and aesthetic spectacle. Instead, it calls for slow seeing - a return to contemplative practice. This echoes the principles of the slow photography movement (Shaw, 2015), which advocates mindfulness and intentionality in image-making.

Applied existential photography, in this sense, is a countercultural response to visual saturation. It reasserts photography’s philosophical and experiential roots, inviting practitioners to engage the world with presence rather than consumption.

Moreover, Chalmers’ integration of existential thought with applied practice extends beyond personal art - it functions as an educational model. Through his mentoring and workshops, he encourages photographers to develop awareness of the psychological and philosophical dimensions of their work. This pedagogical stance transforms photography into an avenue for existential education - a means of cultivating presence, empathy, and authenticity.

Vernon Chalmers AI Photography Approach

Conclusion

Vernon Chalmers’ Applied Existential Photography represents a synthesis of art, philosophy, and psychology. It demonstrates that photography can be more than visual representation - it can be an applied form of existential inquiry. Through the integration of perception, reflection, and ethical awareness, Chalmers transforms the camera into a medium of consciousness.

His practice exemplifies the phenomenological encounter between self and world: seeing as being, photographing as understanding. Each image becomes a manifestation of existential truth - a moment where awareness meets impermanence.

Applied existential photography thus serves as both methodology and meditation: it invites individuals to see more deeply, reflect more honestly, and dwell more authentically within the world’s fleeting beauty. In Chalmers’ vision, the camera does not capture life; it participates in it." (Source: ChatGPT 2025)

References

Bergson, H. (2001). Time and free will: An essay on the immediate data of consciousness (F. L. Pogson, Trans.). Dover Publications. (Original work published 1911)

Buber, M. (1970). I and Thou (W. Kaufmann, Trans.). Charles Scribner’s Sons. (Original work published 1923)

Camus, A. (1991). The myth of Sisyphus and other essays (J. O’Brien, Trans.). Vintage International. (Original work published 1942)

Csikszentmihalyi, M. (1990). Flow: The psychology of optimal experience. Harper & Row.

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

Heidegger, M. (2001). Poetry, language, thought (A. Hofstadter, Trans.). Harper Perennial. (Original work published 1935)

Kabat-Zinn, J. (1994). Wherever you go, there you are: Mindfulness meditation in everyday life. Hyperion.

Kierkegaard, S. (2013). The sickness unto death (A. Hannay, Trans.). Penguin Classics. (Original work published 1849)

Levinas, E. (1969). Totality and infinity: An essay on exteriority (A. Lingis, Trans.). Duquesne University Press. (Original work published 1961)

May, R. (1983). The courage to create. W. W. Norton & Company.

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

Sartre, J.-P. (1992). Being and nothingness: A phenomenological essay on ontology (H. E. Barnes, Trans.). Washington Square Press. (Original work published 1943)

Shaw, J. (2015). Slow photography: Images and experiences beyond the snapshot. Intellect Books.

Yalom, I. D. (1980). Existential psychotherapy. Basic Books.

Phenomenal Tuesday At Kirstenbosch Garden

Kirstenbosch Garden with Canon EOS 6D Mark II / EF 100-400mm f/4.5-5.6L IS USM Lens 

Double-Collard Sunbird : Kirstenbosch Garden, Cape Town

There are days when the world slows just enough to hear the calling of birds, the hush between flowers, the hush between thoughts. Today at Kirstenbosch Garden became that space - a sanctuary of light and leaf where gratitude took root. I walked not to capture, but to feel. Each image below is less a photograph, more a pause - an invitation to presence, to the quiet unfolding of self beneath the canopy of ancient green.

Once again the Canon EOS 6D Mark II did not disappoint. This combination is my go-to pairing for Kirstenbosch Garden. With a beautiful blue sky, over-exposure was about the only risk - the rest were special moments in the making.

Birds, Flowers and Butterfly List

• Double-Collard Sunbird (Top)
• Helmeted Guinea Fowl
• Arum Lily Flower
• Coral Wildflower
• Gazania Wildflower Close-Up
• Citrus Swallowtail Butterfly
• Boomslang Tree Canopy Walkway
  
  

Helmeted Guinea Fowl : Kirstenbosch Garden, Cape Town

Arum Lily : Kirstenbosch Garden, Cape Town

Wildflower : Kirstenbosch Garden, Cape Town

Gazania Wildflower Close-Up : Kirstenbosch, Cape Town

Citrus Swallowtail Butterfly : Kirstenbosch Garden

Boomslang Tree Canopy Walkway : Kirstenbosch Garden, Cape Town

Location: Kirstenbosch Garden, Cape Town

Canon Camera / Lens for Bird Photography

• Canon EOS 6D Mark II (Full Frame)
• Canon EF 100-400mm f/4.5 - 5.6L IS USM Lens
• SanDisk Extreme PRO 64GB 200 MB/s

Exposure / Focus Settings for Bird Photography

• Autofocus On
• Av Mode
• Aperture f/5.6
• Auto ISO 250 - 1000
• 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 7D Mark II

All Images: Copyright Vernon Chalmers Photography