he photographed Albert Schweitzer (and his pelican) in Gabon; and Alaska. Like Walker Evans in the US, his humanist images are 'straight', or realist. This quality in his work was recognised with inclusion amongst Edith Gérin, Janine Niépce and Sabine Weiss, Marcel Bovis, René-Jacques, Jean Dieuzaide, Jean Marquis, Leon Herschtritt, Jean-Louis Swiners, Eric Schwab, and André Papillon in the exhibition Humanist photography, 1945-1968 at the National Library of France from 31 October 2006 to 28 January 2007. Humanist photography, as it became known in France, though never a formal group or movement, was a post-war movement that helped build a French national identity and iconography, both its picturesque places and its social clichés, but also denounced the harsh realities of the period; the move to the cities and growth of the urban working class, poverty, lack of housing and the fear of the Cold War. This was the style of the Rapho photo agency owned and run by Raymond Grosset (who took it over from founder Charles Rado after the war), of which Charbonnier became a member along with others of the younger generation of photojournalist, including Jean Dieuzaide, Sabine Weiss and Janine Niepce. Like his colleagues, Charbonnier identified closely with the classe populaire and focused on the worker, as exemplified by his image Miner being washed by his wife, 1954. One of his stories for Réalités, published January 1955, in which he employed an objective point of view exposed conditions in a mental hospital that are a valuable document today in gauging the progress of psychiatric treatment (a number of the most powerful images were not published due to the sensitivities of the 1950s), while another of his stories, Hélène et Jean, six heures de voyage à travers l'extase et l'angoisse, follows the consequences of drug addiction and overdose. Charbonnier decided to leave the magazine Realities in 1974 to concentrate on his Paris neighborhood of Notre-Dame de Paris and produced extended essays on that precinct. Commercial photography In the 1960s, with television beginning to replace the glossy magazines, Charbonnier turned increasingly to commercial photography, working for large companies such as Carrefour and Renault, freelancing for the Ministry of Labour and the World Health Organisation and also in the fashion industry, photographing Pierre Cardin, his fashions and models, from 1958. He taught photography in Paris at the Ecole Supérieure des Arts Graphiques and also in England. Recognition and legacy Today