This paper analyses the work of Ignjat Habermüller and a group of photographers who were members of the Zagreb Photo Club in the 1930s and whose work has not yet been thoroughly analysed, contextualised or assessed in the history of the Croatian photography. The first part of the paper comprises a historical overview of the development of photography in Zagreb since the end of the 1890s and describes the term "Zagreb school" that these photographers are often associated with. The second part of the work analyses and interprets the work of Ignjat Habermüller, the author whose photographs published in the Fotografski vjesnik magazine in 1927 mark a change to take place in the understanding and positioning of the photographic medium. In the following part the other authors are represented. Those are Oskar Schnur, Branko Kojić, Ljubo Vidmajer, Albert Starzyk, Georgij Skrygin, Vlado Cizelj, Branko Luš and Milan Füzy, selected because their work can be assessed thanks to photographs kept in the Zagreb Photo Club collection as well as those published in magazines from the 1930s together with articles about exhibitions in which they participated. Their work represents the basis for analysing some dominant tendencies from that period, such as mountain photography or social photography, an area in which Habermüller is one of the most important authors. It can be deducted that, apart from those dominant tendencies, these authors marked the photography of the 1930s with their individual styles and created specific artistic profiles, which need to be assessed individually in order to achieve a comprehensive understanding of the work of photographers in Zagreb in the 1930s.