Chuck Walton


Charles « Chuck »Walton is the son of Bowen Walton, an English immigrant born in 1918, who settled in the United States in 1936, and Suzana Horseman, born in Illinois in 1923.

Following short term studies at Colorado Heights University, Chuck Walton left Denver and moved to San Francisco. A pizza boy for two years, then a waiter in a restaurant on Fisherman Wharf, he ended up doing lab work in a photo store on Market Street, close to the Westheld san Francisco Center.

Chuck soon left the dark room and went on to shoot his own pictures. His Italian boss Marcello Pantaleo let him use the shop facilities to print his first shootings, « Little Italy », « Russian-Hill », « Alcatraz » and « South Park ». He buys from Marcello his first camera, an Asahi Pentax Spotmatic with a 55 mm F 1.8 lens.

In the early 70s, Walton meets photographers  Ed Ruscha, Lewis Baltz, William Eggleston, Robert Frank, Saul Leiter and young Martin Paar. This sparks the beginning of a career as photo reporter oriented towards social and urban humanities. Chuck becomes a regular contributor to the « Herald Tribune », « Los Angeles Times » and « San Francisco Chronicle ». His style and physical stature do not go unnoticed in this ever moving environment. Chuck is 5’9 , slim with long hair, soft spoken and easy going with enough audacity to fit in this profession.

From 1980 on, his interests turn towards South America. He spends quite a while in Cartagena, Columbia, following Gabriel Garcia Marquez footsteps, then in Salvador de Bahia, Brasil, where he interacts dilapidated architecture with social life in a tourist oriented city. His work appears in 1986 at the Los Angeles Social Gallery and he’s awarded the Photograph of the year Trophy, as well as the prestigious Rick Richardson Award in 1987.

Since the year 2000, Chuck Walton travels Europe and photographs Great Britain in memory of his father. He finds a liking for France. Walton finally settles in the Contentin peninsula, Normandy, charmed by the quietness of a seashore home close to the little Diélette harbor.

He catches Contentin in his own personal way, moved by a country like solitude. He lays his eyes on an out of time environment as Charles Maslard puts it in his youth chronicles.

He meets Maslard during one of his shooting sessions in Le Havre, a City described as «  a delicate concrete elevation bathed in lightings. A fascinating city, grown out of the land and carved into the sea where every evening, the sun sinks in an ever ending horizon ».