28 - Brassaï Le flâneur nocturne. Gallimard, 2012. "It was to capture the night of Paris that I became a photographer." Brassaï's work is rooted in the nocturnal Paris of the 1930s. Brassaï learned to see and photograph the city through contact with the reality of the streets and places of pleasure, on walks with writers and friends such as Henry Miller and Léon-Paul Fargue, who, like him, were lovers of Paris. To this nocturnal Paris, which he was the first to photograph so assiduously, Brassaï devoted three books, each with a very different approach: Paris de Nuit (1932), in which the muted beauty of the sites and the disquieting strangeness of nocturnal vision shine forth; Voluptés de Paris (1935), a somewhat slavish publication, produced in spite of himself, and which he never claimed, and Le Paris secret des années 30 (1976), with a more marked social content, in which the photographer also becomes a storyteller. This is the first publication to analyze Brassaï's singular vision, placing it in the context of the times: somewhere between reportage, social documentary and poetic research, it was his nocturnal Paris of the interwar years that secured him a major place in the history of twentieth-century photography.