The article presents a fragment of the artistic creativity of a representative of the photogenic photography in Poland – photograph Bogdan Konopka, today living in France. His cycle 'Paris: Invisible City (1994-1996)' drawing on the tradition of documentary photography, went beyond these documentary functions through surreality, melancholy and sense of timelessness his photographs were saturated with, and became a subjective meditation rather than a document. It seems that also in reference to a photographic tradition and opposition of Pictorialism, there is a certain tension. On the one hand it refers to the aesthetic of the American 'Group f64' and postulated by Edward Weston 'photographic vision', indicating what is specific and essential for the medium of photography; on the other, in the context of the used means, composition of the photos and their subject, it inscribes into the tradition of artistic photography, which in Poland is related to Pictorialism. Thus, it is possible to point out a certain dualism of this artistic creativity, drawing on both of these trends, but in the way of thinking of photography itself closer to the American tradition and faithful to the search of what is subjective and pure, and what releases photography from its strict documentary or utilitarian functions.