Bułhak wrote a number of articles and books on the aesthetics and techniques of photography, as well as tourist photography: Fotografika (1930), Bromide Technique (Technika bromowa, 1933), Aesthetics of Light (Estetyka światła, 1936), and National Photography (Fotografia ojczysta, 1951), which was an attempt to adapt the interwar concept of photography to socialist policies. It may be said that, after the WWII, the only continuator of Bułhak's creative and ideological output was Tadeusz Wański. Paradoxically, the ideas behind pictorialism, deriving from the upper social class, constituted one of the three fundamental currents of socialist realism (1949-1955).
After the Second World War, he took photographs of the destroyed Warsaw (displayed at the National Museum in 1946) and of the Recovered Territories (e.g. Wrocław). He participated in the exhibition titled Modern Polish Fotografika (Nowoczesna fotografika polska, 1948) where he showed his abstract pieces.
His photographs can be found in the collections of the National Museum in Warsaw, National Museum in Wrocław, Museum of History of Photography in Kraków, Łódź Art Museum, the National Library in Warsaw, etc.
Author: Krzysztof Jurecki, Łódź Art Museum, March 2004, transl. Ania Micińska, April 2015