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By the 1920s, when he was in his 60s, Atget had a symbol, a unique typology of old Paris, consisting of more than ten thousand images.

"This picture is, probably one of my favorite pictures of Atget. Because of the construction of the image, very ...uh, almost geometric, almost abstract. And there are two very small persons on the windows. And that he took the picture, one of the reasons is because this place was going to be destroyed. And it's not often that he writes things like that on the back of his pictures. That here it is written,'*', it's going to disappear. "

Like August Thunder, Atget was a creature of the 19th century. His equipment and techniques, already old fashion when it began, had become positively archaic by 1920s. Alexander Rodchenko would not have been impressed.

"He was still making albumin* prints, which he could print out in the sunshine, not in a dark room. The albumin* prints came in 1851, and he was still using them in 1920s; I mean this is absurd. There is people did try to get Atget to use modern materials, because they said it would last better. And he said,’ I don't know how to do that'."

He may have been behind the times, but Atget was still a commercial photographer. Outside his studio in Mopenas*, A sign offered "documents for artists', reference material for illustrations in cartoons. But however modest the intended purpose, Atget's documents achieve something far greater.

"'None a travel eye could make of documents', was an accurate description of what he thinks he did. He produced A document; a photograph is a document. It's the first gathering of basic data on a plain, that everybody could look at and see the same objective. But Atget's documents were much more personal. Atget to me is our motto. He is the single greatest artist of photography. That's a clear definition for me. He stands * above everybody else."