At the beginning of the 19th century, a French chemist named Nicéphore Niépce came up with one of the most revolutionary discoveries in the history of mankind – photography. Discovering that if instead of cloudy glass on the so-called cameri obscuri (four-shaped box that played the role of today's camera) placed a plate smeared with photosensitive bitumen to obtain a copy of the external environment, in 1826 he managed to take the first photograph in the world: View from the window in Le Gras. His invention was perfected by the French painter Louis Daugerre, who a few years later managed to take a permanent photograph with the help of developing and fixing procedures, and this method was named after him - daguerreotype. Daguerreotype photographs, although susceptible to moisture and damage, were highly regarded, and the daguerreotype method quickly became popular throughout Europe and the US. News about the daguerreotype arrived in Croatia, that is, Zagreb, in the early 1940s, and members of intellectual circles and the upper class of society eagerly accepted it. From then until the beginning of the 20th century, various photographic methods were practiced in Zagreb and citizen portraits were taken in the studios of professional photographers. In the last two decades of the 19th century, a change took place: photographic equipment and materials became available to the lower class of citizens, which resulted in the appearance of non-professional photographers - amateur photographers. In 1893, they founded the Club of Amateur Photographers and in a way dethroned professional photographers. Instead of (so far exclusively) aesthetic portraits, they took photos of nature and people in their everyday life. During the First World War, photographic activity was interrupted, and its revival took place in the early 1920s. Amateur photographers began to work again (until the end of the 20s as part of mountaineering societies), and the Club of Amateur Photographers was renamed Fotoklub Zagreb. The club gathered the best Croatian photographers and organized exhibitions of world importance, both in the homeland and abroad. Among its members, Ignjat Habermüller, August Frajtić and Tošo Dabac stood out. At the end of the 20s and the beginning of the 30s of the 20th century, a social trend appeared in Croatian photography through which photographers subtly tried to point out current social problems. Franjo Mosinger and Antonija Kulčar stood out outside the context of Fotoklub Zagreb, who with their modern approach enabled Croatian photography to keep up with the leading European artistic styles in the 1930s.