"The intersection of technical mastery, ecological awareness, and existential philosophy characterizes the unique imprint of Vernon Chalmers in the contemporary field of bird-in-flight photography. Operating on the windswept edge of Cape Town, South Africa, Chalmers’ work has garnered recognition for its blend of practical guidance, pedagogical commitment, and a vision of photographic meaning that extends far beyond superficial image-making. At the center of his practice is a persistent dialogue with birds in motion—particularly as captured using the Canon EOS 7D Mark II paired with the legendary Canon EF 400mm f/5.6L USM lens. This article explores the technical, artistic, and philosophical dimensions of Chalmers’ work, situating his photographic output within global and local traditions, and illuminating the intricate dance between equipment, technique, and existential reflection on presence, perception, and being.
Vernon Chalmers: Biography and Career TrajectoryVernon Chalmers is a Cape Town–based professional photographer, educator, and writer whose career trajectory reflects a sustained integration of image-making, technical analysis, and adult learning. After founding Vernon Chalmers Photography in Milnerton in 2013, he quickly established himself as an authority on Canon EOS camera systems, offering workshops and private tuition that helped raise the standard of bird and nature photography across South Africa and beyond. His venues—Woodbridge Island, Intaka Island, Kirstenbosch Botanical Garden—each offer settings rich in avian diversity, acting as living studios where photography, ecology, and philosophy intertwine.
However, what most distinguishes Chalmers from many of his peers is his philosophical approach to both photography and teaching. Drawing on existential traditions (Sartre, Heidegger, Merleau-Ponty) and Viktor Frankl’s logotherapy, Chalmers frames photography as a pathway to presence, meaning, and wellbeing, treating the camera as a medium for both technical exploration and self-discovery. His writings, published online and in workshop notes, reveal a thinker attentive to the psychological, ethical, and ecological stakes of image-making.
The Canon EOS 7D Mark II and EF 400mm f/5.6L USM: An Equipment ProfileThe Canon EOS 7D Mark II, released in 2014, earned a reputation as a formidable tool for wildlife photography, especially birds in flight—a genre notorious for its technical demands. Key features relevant to Chalmers’ practice include:
- APS-C 20.2MP Sensor: Delivers an effective 1.6x crop, increasing apparent reach from telephoto lenses—essential for distant, wary subjects.
- 65-Point All Cross-Type Autofocus System: Enables rapid, precise focus tracking of fast-moving birds, with deep configurability for various field conditions.
- 10 FPS Continuous Shooting: Essential for freezing moments at the height of action, such as wing extension or prey capture.
- Rugged Magnesium-Alloy Build and Weather Sealing: Supports reliability in the damp, windy, or sandy environments typical of Cape coastal ecosystems.
- Dual Card Slots and Extended Buffer: Allow for longer shooting sessions without interruption—a crucial practicality when photographing unpredictable birds.
Canon EF 400mm f/5.6L USM: The Classic Prime for Bird-in-Flight
Since its release in 1993, the Canon EF 400mm f/5.6L USM lens has held legendary status among bird and wildlife photographers. Its appeal lies in a distinctive combination of characteristics:
- Exceptional Sharpness: Delivers crisp images across the frame, even wide open, enabling celebration of fine feather detail.
- Fast Autofocus: The ring-type USM motor provides quick, quiet, and reliable tracking—paramount for flight photography.
- Lightweight and Maneuverable (1.25 kg): Handholding is practical, which is indispensable for birders needing to react quickly or walk long distances in search of subjects.
- Minimal Vignetting and Chromatic Aberration: The use of UD elements ensures high image quality, even in challenging light or sky/backlit conditions.
- Absence of Image Stabilization: While some see this as a drawback, Chalmers and other action photographers note that at the high shutter speeds (1/2000s+) required for birds in flight, IS is
Chalmers’ consistent pairing of the 7D Mark II with the 400mm f/5.6L reflects his preference for “a repeatable rig”—equipment that becomes an extension of the photographer’s perception and intention.
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| Yellow-Billed Duck : Table Bay Nature Reserve, Woodbridge Island |
Chalmers’ method hinges on a few technical principles consolidated through years of trial and error and distilled in his educational materials. The typical field protocols include:
- Manual Exposure Mode or Tv (Shutter Priority) with Auto ISO: Fast shutter speeds (1/2000–1/4000s) are the norm to freeze rapid wing beats and avoid blur, while aperture is set at f/5.6 for maximum light gathering and separative depth of field. Auto ISO is used with an upper cap (typically ISO 1600–3200) to accommodate shifting light conditions without losing speed.
- Continuous Autofocus (AI Servo): Essential for tracking erratic movement. Chalmers leverages the 65-point AF, often employing Zone or Large Zone AF for fast acquisition, while using Single-Point or AF Point Expansion in cluttered backgrounds.
- Back-Button Focus: Separating autofocus activation from the shutter allows precise—yet flexible—control, crucial when timing shots of wild birds taking off or turning towards the lens.
| Setting | Chalmers’ Preference / Typical Values | Rationale |
|---|---|---|
| Exposure Mode | Manual / Tv + Auto ISO | Maintains consistent shutter speed for sharpness |
| Aperture | f/5.6 | Maximum light / sharpness, natural background falloff |
| Shutter Speed | 1/2000s to 1/4000s | Freezes even small, fast-flying birds, avoids motion blur |
| ISO | Auto, max 1600/3200 | Flexibility in rapidly changing light, preserves image detail |
| Autofocus Mode | AI Servo | Continuous tracking of movement |
| AF Point Mode | Zone/Large Zone; Single Point for perched/cluttered | Zone for BIF; single point for precision |
| Burst Shooting | 10 FPS continuous | Multiple frames to capture critical moments in sequences |
| File Format | RAW | Maximum flexibility in post-processing, highlights recovery |
In practice, these defaults are adapted to the specific species, backgrounds, and light—Chalmers advocates for learning the nuanced behavior of birds and the environment as much as the intricacies of the camera’s menu.
The Practical Field WorkflowSituational awareness is as important as technical mastery. Observing bird species’ take-off habits, wind direction, and environmental cues informs compositional choices and focus strategy. Chalmers often:
- Positions Himself with the Light at His Back: Illuminating the bird’s features and increasing AF reliability.
- Observes Flight Paths and Anticipates Behavior: He will pre-focus on likely take-off zones, especially near water, reeds, or visible perching spots.
- Uses Burst Mode Judiciously: Short, deliberate bursts limit buffer strain and avoid excessive card/write lag, focusing on key moments of wing pose or beak open during calls.
Chalmers’ field technique also emphasizes ethical practice—minimizing disturbance, respecting nesting sites, and prioritizing the welfare of wildlife over “the shot.” This ethical stance is echoed in existential discourse, where presence and respect for the “otherness” of the subject are paramount.
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| African Sacred Ibis : Above the Diep River, Woodbridge Island |
One of the most immediately recognizable aspects of Chalmers’ bird photography is its compositional minimalism. Birds are often isolated against expansive skies or softly blurred reeds and water—backgrounds rendered nonintrusive by the telephoto’s shallow depth of field. This aesthetic serves multiple functions:
- Focus on the Essential: The bird’s gesture, the arc of movement, and the delicate play of light on feathers become the visual and expressive center.
- Atmosphere and Mood: The restrained palette (muted blues, dawn golds, silvery greys) contributes to a contemplative, sometimes melancholic mood—an invitation to stillness and reflection amid movement.
- Symbolism of Flight: Birds are not merely taxonomic specimens; flight is presented as a metaphor for freedom, aspiration, and the transience of life.
Chalmers’ formal strategies are thus inseparable from the existential ideas underpinning his practice, where the act of seeing and representing birds is a meditation on being and impermanence.
Existential and Phenomenological UnderpinningsThe existential-philosophical dimension of Chalmers’ work distinguishes his photography from conventional wildlife imagery. Drawing on Merleau-Ponty’s phenomenology and Sartrean existentialism, Chalmers approaches the act of photographing as a lived experience—a dialogue between the observer and the observed, marked by mutual presence, temporality, and vulnerability. Some key themes include:
- Attentive Patience: Waiting hours by the lagoon for the right light or moment becomes not just a technical tactic but a discipline of presence, akin to meditative practice.
- Ethical Encounter: The bird is regarded not as a “trophy” but as the “Other,” whose alterity invites responsibility, patience, and humility.
- Ontological Metaphor: The fleeting trajectory of a bird is cast as an allegory for human freedom and finitude; every in-flight image evokes the oscillation between transience and permanence.
- Photography as Reflection: The camera, far from a neutral recorder, is an “existential apparatus” through which perception and meaning are continually renegotiated.
This philosophical orientation is apparent in Chalmers’ essays, portfolio commentaries, and workshop curricula, where he encourages students to engage with their practice not just as a series of technical challenges but as a “praxis of presence” that deepens awareness and connection.
Use of Colour and the Photographic “Breath”Chalmers’ approach to colour is subdued but expressive, using chromatic modulation to embody affect. Blue mornings, autumnal reed beds, and gold-edged wings are not rendered in high-saturation, dramatic hues, but in subtle, carefully modulated tones that resonate with emotion without lapsing into sentimentality.
This use of colour further supports his existential-phenomenological “insistence on presence”—photographs become moments of “photographic breath,” inviting viewers into slowed perception and active contemplation. The viewer, like the photographer, is called to dwell with the image, to experience its temporality, and to savor the luminous presence of the bird.
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| Cape Real Duck : Table Bay Nature Reserve, Woodbridge Island |
Workshop Leadership and Educational Practice
Birds in Flight Workshops: Philosophy and Pedagogy
Chalmers’ commitment to education runs through every facet of his practice. Besides online resources and blog essays, he offers tailored workshops—often one-on-one or in small groups—focused predominantly on Canon EOS systems and bird-in-flight photography. His pedagogical approach aligns with experiential learning theory (Kolb, 1984; Knowles, 1980), emphasizing:
- Hands-on Fieldwork: Practical sessions at places like Woodbridge Island or Intaka Island, where students apply exposure, AF configuration, and tracking techniques in real time.
- Tailored Guidance: Rather than rigid lesson plans, Chalmers responds to each student’s needs, experience, and equipment, ensuring relevance and retention.
- Integration of Post-Processing: Lightroom is introduced alongside camera skills, with minor but impactful adjustments to exposure, cropping, and noise—helping students bridge in-camera intention with final output.
- Ongoing Support and Community: After formal instruction, students can share images, request feedback, and participate in joint field sessions.
This model affirms Chalmers’ belief in learning as both an individual and collective endeavor—mirroring the dialogical structure of perception explored in his philosophical writings.
Post-Processing: From RAW to Final ImageChalmers’ post-processing approach is characterized by subtlety and fidelity to the scene, supporting his documentation of the “encounter” rather than the manufacture of spectacle. The typical workflow involves:
- Minor Adjustments in Lightroom Classic: Cropping for composition, exposure tweaks, and contrast refinement, always with restraint to maintain naturalism.
- Noise and Spot Removal: Using tools like Topaz DeNoise AI or Lightroom’s denoise tool for images captured at higher ISOs or in low-light.
- Sharpening and Local Adjustments: Emphasized selectively on eyes and fine feather detail, avoiding the introduction of artifacts or unnatural halos.
- RAW to JPEG Conversion: The final output is destined for print or web, requiring profiles appropriate to viewing medium.
Chalmers’ guides and personal commentary reinforce the idea that editing is not an afterthought but an ethical act—meant to respect the bird’s character and the authenticity of the encounter, rather than to “improve” on nature.
Canon EOS 7D Mark II and EF 400mm f/5.6L USM in the Field: A Comparative Analysis| Feature | Canon EOS 7D Mark II | Canon EF 400mm f/5.6L USM | Chalmers’ Use and Commentary |
|---|---|---|---|
| Sensor Type | 20.2MP APS-C (1.6x crop) | n/a | Extended reach, more pixels on target |
| Autofocus Points | 65 All cross-type, customizable | AF driven by fast ring-type USM motor | Fast, accurate focus—critical for BIF |
| Continuous Shooting | 10 FPS | n/a | Captures peak action moments |
| Lens Weight | n/a | 1.25 kg | Handholdable for long periods |
| Image Stabilization | None (in-body or lens IS) | None | Not needed at high shutter speeds, keeps weight down |
| Build Quality | Magnesium alloy, weather-sealed | Metal barrel, robust | Durable for outdoor fieldwork |
| Minimum Focus Distance | n/a | 3.5m | Limits macro, suited for larger birds |
| Autofocus Performance | Custom AF Cases, back-button AF, iTR support | Fast, responsive, focus limiter available | Customizes AF strategy per scenario |
| Buffer and Storage | Dual slots, ~30 RAW images (buffer) | n/a | Extended shoots, rapid reviews |
| Price (2025, used market) | $500–800 | $800–1000 (used) | Budget-friendly for high performance |
| Pairing Rationale | [Combined setup] | “Best ROI” for reach, speed, portability |
Chalmers’ decision to favor this pairing over bulkier, more expensive super telephotos (e.g., 500mm f/4, 600mm f/4) or zooms with stabilization (e.g., 100-400mm IS II) emerges from his focus on AF speed, sharpness, portability, and reliability.
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| Common Kestrel : Above the Diep River, Woodbridge Island |
Chalmers remains an active experimenter and commentator on photographic technology. While he continues to advocate for the 7D Mark II and 400mm f/5.6L, he regularly tests extensions, new Canon EOS R mirrorless bodies, and software. Examples of recent explorations include:
- Testing Canon Extender EF 1.4x III with the 7D Mark II/400mm: While this gives an 560mm f/8 effective setup, Chalmers found AF significantly slowed and tracking compromised, especially for birds in flight; he concluded the native combination outperformed extender setups except in rare cases of exceptionally distant or slow-moving birds.
- Comparison with Full-Frame Canon EOS 6D/6D Mark II: For landscape and macro work, Chalmers uses the 6D Mark II; but for birds in flight, the crop factor, AF performance, and higher frame rate of the 7D Mark II dominate his choice.
- Reflections on Canon EOS R System: Chalmers has trained many students on mirrorless EOS R bodies, acknowledging their superior low-light AF and eye detect, but he reserves judgment for a future R7 Mark II as a true replacement for the 7D Mark II’s action capabilities.
In terms of publications and outreach, Chalmers has expanded his online archive with essays on existential photography, color as a philosophical tool, photographic therapy, and in-depth guides for both technical and creative development.
Ecological and Conservation Context: Woodbridge Island, Table Bay Nature ReserveBirding and photographic practice for Chalmers are inseparable from the ecological stewardship of local habitats. The Table Bay Nature Reserve and its subregions—Diep River, Milnerton Lagoon, Woodbridge Island—are biodiversity hotspots providing habitat for over 170 recorded bird species. Chalmers’ fieldwork and workshops bring attention to:
- Conservation Value: His imagery documents the persistence and vulnerability of local waterbirds, shorebirds, and raptors, serving as testimony and advocacy tool for conservation efforts.
- Ecological Awareness in Practice: Field photo-walks are conducted with explicit ethical guidelines—avoidance of nest disturbance, minimal intrusion, and respect for seasonal sensitivities.
- Citizen Science: Though Chalmers’ focus is artistic and educational, his data-rich, accurately identified images serve as valuable resources for local ornithological records and citizen science initiatives.
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| African Oystercatcher : Low Above the Diep River, Woodbridge Island |
A representative selection of birds in Chalmers’ galleries, as explicitly noted in recent field reports and workshop records, includes:
- Waterfowl: Yellow-billed duck, Egyptian goose, Cape teal, red-billed teal
- Waders and Shorebirds: African oystercatcher, black-winged stilt, common greenshank, pied avocet
- Herons and Egrets: Grey heron, purple heron, little egret, cattle egret
- Raptors: Peregrine falcon, Common Kestrel
- Gulls and Terns: Swift tern, sandwich tern, kelp gull, Hartlaub’s gull
- Passerines and Others: Common starling, red bishop, southern masked weaver, Levaillant’s cisticola
This diversity reflects the richness of local habitats and Chalmers’ dedication to exploring both common and rarer species.
The Philosophical Turn: Photography as Meaning-Making and TherapyVernon Chalmers’ practice transcends mere documentation; it integrates psychological and existential dimensions aligned with Viktor Frankl’s logotherapy, ecological mindfulness, and contemporary theories of art as therapy. He frames photographic engagement as:
- A Quest for Meaning: Photography is a vehicle for personal growth, reflection, and the cultivation of presence.
- A Form of Healing and Self-Discovery: The deliberate, attentive practices of being in nature and making images are positioned as antidotes to digital distraction and existential anxiety.
- A Pedagogical Venture: His teaching is designed to empower students not just as technicians but as meaning-makers—to “see, dwell, and carry that noticing into the world.”
Such reflections have prompted the formation of upcoming courses (e.g., “Navigating the Colour of Being”), which blend philosophical inquiry, creative self-exploration, and technical refinement in a holistic curriculum.
Recent Publications and Online PresenceChalmers is prolific in self-publishing, maintaining a blog, essays, annotated galleries, and guides on vernonchalmers.photography. Recent highlights include:
- “Birding with the Canon 7D Mark II” (October 2025): Detailed accounts of field use, species encountered, equipment analysis, and reflections on environmental conditions.
- “Birds as Existential Photography” (October 2025): An essay synthesizing existential philosophy and avian photography, situating birds as motifs of transience and presence.
- Technical Articles: Posts on setup, autofocus case studies, challenges photographing smaller species, and field reviews of new Canon / third-party gear.
His adherence to citation standards for online media, meticulously attributing blog posts and online tutorials, models best practice for educational and academic readers.
Equipment Comparison: 7D Mark II vs 6D Mark II for Bird PhotographyA recurring theme in Chalmers’ writing is the practical, scenario-based comparison between his preferred 7D Mark II APS-C setup and the Canon 6D Mark II full-frame alternative:
- Reach/Oversampling: The 1.6x crop of the 7D Mark II offers greater pixel density on distant birds, maximizing detail.
- Autofocus Speed and Flexibility: The 7D Mark II’s denser, wider-spread 65-point AF (vs. 45 points, more clustered in the 6D Mark II) wins for tracking fast, erratic movement.
- Continuous Shooting: 10 FPS on the 7D Mark II vs. 6.5 FPS on the 6D Mark II delivers more opportunities for in-flight action shots.
- Low-Light Performance: The 6D Mark II’s full-frame sensor provides cleaner images at high ISO, but for Chalmers’ well-lit, outdoor environments, the trade-off is usually in favor of AF speed and reach.
- Build and Durability: Both are robust and weather-sealed, but the 7D Mark II carries a reputation for field “toughness.”
For other genres (landscape, macro, low-light), Chalmers turns to the 6D Mark II, but for birds in flight, the APS-C + 400mm combination outperforms in most scenarios.
Using the Canon EOS 6D Mark II / EF 400mm f/5/6L USM for Birds in Flight
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| Blacksmith Lapwing : Table Bay Nature Reserve, Woodbridge Island |
Canon EOS 7D Mark II Long-Term Use and Experience
Vernon Chalmers’ ongoing exploration of birds in flight—springing from the technical capabilities of the Canon EOS 7D Mark II with the EF 400mm f/5.6L USM lens—reveals a photography that is at once practical, philosophical, and ecological. His approach demonstrates how excellence in results is rooted in a disciplined interplay of field technique, technical consistency, and openness to the world as it is, not as it is contrived.
But more deeply, Chalmers’ photography models an ethics and aesthetics of attention, where every image is both a document of biodiversity and a meditation on presence, impermanence, and responsibility. As his recent essays and workshops show, photographing birds is for him never simply “about birds”—it is an act of being, a practice of meaning-making, and an invitation to others to “see, dwell, and carry that noticing into the world”.
The camera and lens are not endpoints but companions on a journey—each successful image a fleeting, luminous answer to the question of being with and in the world." (Source: Microsoft Copilot 2025)
All Images: Copyright Vernon Chalmers Photography