Doisneau was introduced to photography in the 1930s when it is used in an advertising agency, then in a studio before becoming an industrial photographer at Renault. At the same time, he began to take in his own words, images of "Sunday photographer." He photographed his daily environment, a suburb of Paris. These images are dark. They are those of a disappearing world. The photographer was fully aware. The horizon is vast. Alongside the pavilions millstone grow HLM. In the distance, ghostly silhouettes, gas meters. Here and there a few passersby. At this time, the photographer does not dare get too close to his subjects. In some images, a black misery slum blocks fat and shiny. From time to time, children playing sound like the possibility of another world, that of the dream. In these images suburban conducted privately, the legacy of Eugene Atget obvious. But unlike a Walker Evans, Doisneau did pulls no conceptual program. It offers only "to include" the daily decor "with the vague feeling that these images serve one day." And in fact, they are the material of his first book, The Outskirts of Paris, designed with Blaise Cendrars in 1949. Meanwhile, the flâneur Robert Doisneau was fired from Renault to repeated delays. He began working as a freelance photographer before joining the Rapho agency. The postwar Doisneau for a period of intense activity. He worked for many magazines, some Communist-led, but both Vogue. Still, he steals a few moments his employers to soak in the hot Parisian street. He photographs bums or an accordion. In the evening, his friend Robert Giraud causes of drinking places in cabarets in the slums of the capital. But still, he returned to the suburbs.