This volume brings out a little known side of the work of Lucien Hervé: the man in the street. It shows that the photographer of Le Corbusier always wanted to preserve human presence, even when it remains in the public eye. His structuring gaze took advantage of an incredible sense of bright graphics, and he gave a poetic unity to his work, provoking real illuminations. René Char was right: one must blow on certain lights to make the right light. If Hervé blew as a connoisseur on architectural lights, he also blew, with modesty, on the lights of people. Best known for his work on the buildings of Le Corbusier, whose official photographer he was from the Cité Radieuse in Marseille in 1949 until the master's death in 1965, a witness of the modernist architecture of his time who also worked for Jean Prouvé, Marcel Breuer, Alvar Aalto and Oscar Niemeyer, he made — a follower of geometric abstraction, in love with forms for themselves — a body of work of rare graphic coherence that goes beyond questions of building.