The medium of photography has strongly influenced the development of civilization, human culture, and way of life, therefore also various scientific disciplines, methods, and theoretical concepts. One of them is precisely the area of visual culture and media, that is, the area of visual anthropology and ethnography. There are numerous definitions and understandings of photography when it is viewed from different scientific points of view. In this paper, media photographs will be problematized based on selected photographs of Ante Brkan taken from the 1950s until the end of the 1970s with the daily life of the staff in Zadar, with the analysis and interpretation of the definitions of photographs that have just emerged from theoretical concepts and her vision as visual media. Various cultural and visual anthropologists, scientists, writers, art critics, and theoreticians of visual culture contributed to the critical thinking and analysis of photographs, with whose thoughts and given photographic records we will consider the issues of the visible and the invisible, issues of power relations, viewers and viewers, and the emergence of a new space for the production of new meanings within the photographic discourse. Also, the photos of Ante Brkan will be analyzed within the framework of several criteria and definitions derived from the literature used and the definition of the method of ethnography to understand photography as a type of ethnography. The work aims to answer the research question: can we define his photographs as ethnographic, that is, are Ante Brkan's photographs a kind of ethnography?