Cinematographer specializing in feature films, documentaries, TV theatre; In spite of a flirtation with features he has remained faithful to documentaries.
A cinematographer specializing in feature films, documentaries and TV theatre.
Cinematographer specializing in feature films, documentaries, TV theatre, born 1948 in Poznań.
Petrycki completed his education at the Łódź Film School in 1970 and made his diploma film in 1976. His cinematographic debut had occurred earlier, with Petrycki joining the Warsaw Documentary Films Studio (WFDiF) as assistant cinematographer in 1971. Soon he was promoted to cinematographer's position and in 1976 started to work also on feature films. Petrycki has been the cameraman on many acclaimed pictures and has worked on documentaries and features directed by Krzysztof Kieślowski, Marcel Łoziński, Agnieszka Holland and others. Since 1987 he has been doing assignments for UK's Channel 4 and BBC.
Petrycki's many awards include BAFTA TV Award for Best Photography for The Betrayed (1996) as well as other foreign and domestic awards and nominations, including the nomination for the Polish Eagle Film Award for Best Cinematography for Mariusz Malec's Człowiek wózków (2002). He was the cinematographer on the most talked-about documentaries of the 1970s: Krzysztof Kieślowski's Życiorys / Curriculum Vitae (1975) and Szpital / The Hospital (1976), Marcel Łoziński's Jak żyć / Recipe for Life (1977) and Próba mikrofonu / Microphone's Test (1980), as well as on documentaries made by directors who attempted to tell the truth about Poland and its people under communism, notably by Andrzej Zajączkowski, Bohdan Kosiński, Andrzej Brozowski, Tomasz Zygadło, Paweł Kędzierski and, last but not least, Andrzej Titkow. On top of that, Petrycki was the photographer for the flagship films of the ‘cinema of moral concern', such as Krzysztof Kieślowski's Spokój / Calm Before the Storm (1976) and Amator / Camera Buff (1979) and Agnieszka Holland's Aktorzy prowincjonalni / Provincial Actors (1978) and (though it falls outside of this trend) Kobieta samotna / A Lonely Woman (1981).
"I used my documentary experience from work with Marcel [Łoziński] when doing photography for Kieślowski's features. Agnieszka [Holland] was in turn single-mindedly focused on the plot and exerted the strongest influence on my technique", says Petrycki when interviewed by Bartosz Michalski many years later ("Film & TV kamera", 4/2003).
In an interview taken by Nina Sławińska ("Film" 9/1980) after his debut as a full-length feature cinematographer on Aktorzy prowincjonalni and Amator, Petrycki said that all of his documentary experience had been of use, the flagship feature films drawing from documentaries both in the area of staging and style of camerawork.
"There were not just genuine cramped interiors - there was also a documentary camera", Petrycki reminisces years later ("Reżyser" 6/1996).
He remembers those years - 1970s - as a period of striving for photography made with heavy and static cameras to come alive through such things as the use of a longer lens and blurring the foreground. Many shots in Aktorzy prowincjonalni had been deliberately underexposed and came to be questioned by technical inspectors whose standards were very stringent ("a proper shot is one in which at least thirty per cent of the frame is sharp"). It was only owing to his defence by Jerzy Wójcik - the celebrated cinematographer on Jerzy Kawalerowicz‘s Faraon / Pharaoh - that the young cameraman avoided a court case ("Film & TV kamera" 4/2003).Jacek Petrycki was the cinematographer of a new generation of documentary film-makers - Krzysztof Kieślowski, Andrzej Zajączkowski and Tomasz Zygadło - who started in the job in the late 1960s and early 1970s. Joining the established documentary film-makers such as Bogdan Kosiński and Andrzej Brzozowski, they aspired to turn the documentary into an instrument of telling the truth about Poland. Petrycki continued to work with them also in the difficult 1980s, as a member of an informal group of documentary film-makers which Kosiński set up at WFDiF to record whatever was related to Solidarity in its legal and underground periods. Says Petrycki,
"We managed to show certain secrets, certain things which never appeared on the screen as reality despite being present and known by the society" ("Reżyser" 6/1996).
In spite of a flirtation with features Petrycki has remained faithful to documentaries and was distressed by Kieślowski's departure from the genre which he believes to influence the characters and their lives.
"I have faith in this genre, I believe it should exist and should be practised in agreement with moral principles" ("Kino" 7/8/2001), says Petrycki and goes on to add that sometimes you have to say horrible things but you should not avoid doing so if it serves a purpose.
He faced some drastic situations when working for Channel 4 and the BBC in Chechnya, Russia and Kosovo, yet never turned off his camera:
"I did not, because I have learnt to decide to what extent it is worth sacrificing your peace of mind to attain something that could have a powerful effect".
While shooting a film about St Petersburg's homeless children Petrycki photographed a scene in which a little girl injected a drug into her vein.
"What was I supposed to have done?", asks Petrycki. "Leave or stop her? She would have done it off set the next moment".
When shown, this film shocked the viewers in England and elsewhere, and some of them offered to take care of the children. Does it not vindicate Petrycki's choice?
In the same interview Petrycki criticizes the modern documentary that follows the BBC standard of adding explanatory commentaries:
"A document should be a work of art - in addition to showing something you care about".
He is vexed by films which follow pre-defined standards rather than relying on original ideas, and calls the BBC documentaries
"the model television for idiots, where nothing is left unsaid, everything should be rather nice and lots of English is spoken".
He gives the films which he did for the BBC in Yugoslavia as an example:
"The only thing that mattered was that a presenter had come and was talking about something in English".
The war, the reality did not matter. Petrycki says it is different in Channel 4, for which he has done classical documentaries, like the ones he would do in Poland ("Reżyser", 6/96).
Watching a film, we usually perceive the cameraman's job as purely technical. Petrycki's work proves us wrong - cinematographers are not just people you hire. When asked by Sendecka about the drivers of excellence of Polish cinematography, Petrycki replies that the Polish cinematographic school derives from the Polish film school. The Polish film, "puts the w h a t first, and the h o w comes second". Technology does the rest.
"If the cameraman cares about the topic of the film, he himself wonders how to shoot it best", says Petrycki ("Reżyser" 6/96).
Indeed, he spoke in the same vein back in 1980, after he had worked on two features of ‘the cinema of moral concern': Agnieszka Holland's Aktorzy prowincjonalni and Krzysztof Kieślowski's Camera Buff:
"I simply hardly ever do a film which would not concern me if I were not a cameraman" ("Film" 9/1980).
Petrycki, who has often admitted to not being a creator, is a documentary photographer working in documentaries as well as features and aiming for what he calls the ‘translucent photography':
"Such photography must be my mode. I very rarely create scenes to impress ... to shock the viewer by how they are shown" ("Film" 9/1980).
No wonder, then, that Petrycki did the photography for most of his generation's films dubbed the ‘cinema of moral concern'. Some of his projects have been of a more ‘creative' nature, though. After all, it was him who did the photography for Agnieszka Holland's Gorączka / Fever (1980) and Europe, Europe (1990), even though when asked why she had employed Petrycki for her 2001 film Shot in the Heart, Holland said:
"There are a couple of cameramen with whom I am friends and depending on the topic I select the one who, in my view, will be able to photograph the story best. In this case I am relying on the documentary style which Jacek uses" (www.stopklatka.pl, Grzegorz Wójtowicz's interview with Agnieszka Holland, 5th February 2001).
A number of Petrycki's recent projects have concerned places which saw some dramatic events. His presence in Kurdistan, Afghanistan, Kosovo and Russia was not a matter of chance; it was a consequence of his character and his views on art and life:
"My structure is such that I am driven by conflicts, dramas, the desire to get to things which are painful or which, contrary to the common view, people should see. This makes it easier for me to go, for instance, to Kurdistan and do something which is extremely dramatic and moving, and little known, too ", confesses Petrycki ("Reżyser" 6/1996).
The circle closes here. In 1970s and 1980s some of Petrycki's work was done in hiding, on the run from the police. In 1987, when Poland was still a communist country ruled by General Wojciech Jaruzelski, Petrycki and Marcel Łoziński did Świadkowie / Witnesses, a document about the Kielce pogrom. When the film was shown at the premises of the Catholic Intelligentsia Club and "nothing happened, nobody went to jail", Petrycki felt that a certain stage - or perhaps even the mission of the Polish documentary - was over. Nowadays he believes that things are too polished in this country. And yet he goes on with filmmaking here, and not only as a cinematographer: he recently co-directed (with Grzegorz Eberhardt, a long-standing colleague from those heroic anti-communist times) Czternaście dni. Prowokacja bydgoska.
Film etudes - cinematographer:
- 1968 - Świt, short feature, dir. Anna Górna;
- 1968 - Bachianas Brasileiras, short feature, dir. Preben Osterfelt
Documentaries - cinematographer:
- 1971 - Ziemia, dir. Tomasz Zygadło; jointly with Piotr Kwiatkowski;
- 1971 - Przed rajdem / Before the Rally, dir. Krzysztof Kieślowski; jointly with Piotr Kwiatkowski;
- 1972 - ... Gra szła va banque, dir. Jerzy Kaden;
- 1972 - Ktoś od nich, dir. Ewa Kruk;
- 1972 - Między Wrocławiem a zieloną Górą / Between Wrocław and Zielona GÓRA, dir. Krzysztof Kieślowski;
- 1972 - Podstawy BHP w kopalni miedzi / The Principles of Safety and Hygiene in a Copper Mine, dir. Krzysztof Kieślowski;
- 1972 - Robotnicy 1971: Nic o nas bez nas / Workers 1971: Nothing About Us Without Us, dir. Krzysztof Kieślowski, Tomasz Zygadło; jointly with Witold Stok and Stanisław Mroziuk (the censored version distributed as Gospodarze);
- 1973 - 318 x 121, dir. Jerzy Kaden;
- 1973 - Dymitr Żyliński, dir. Franciszek Kuduk;
- 1973 - I ty możesz być Mecenasem, dir. Jerzy Ziarnik;
- 1973 - Krauzowie i Inn, dir. Bogusław Rybczyński;
- 1973 - Lunapark, dir. Barbara Pietkiewicz;
- 1973 - Na lądzie, dir. Tomasz Zygadło; jointly with Piotr Kwiatkowski and Janusz Kreczmański;
- 1973 - Ósmy kontynent, dir. Andrzej Zajączkowski; jointly with Dariusz Łukasik:
- 1973 - Powitanie jutra, dir. Bohdan Rybczyński;
- 1973 - Ze wsi, dir. Tadeusz Pałka;
- 1974 - Biolodzy, dir. Marcel Łoziński;
- 1974 - Król, dir. Marcel Łoziński;
- 1974 - Olimpijczycy, dir. Tomasz Zygadło;
- 1974 - Pierwsza miłość / First Love, dir. Krzysztof Kieślowski;
- 1974 - Prześwietlenie / X-Ray, dir. Krzysztof Kieślowski;
- 1974 - Wiejskie kontrasty, dir. Jerzy Kaden;
- 1974 - Wizyta, dir. Marcel Łoziński;
- 1975 - Inwentarz, dir. Tadeusz Pałka, Grzegorz Skurski (zdjęcia z Jackiem Zygadło i Andrzejem Arwarem);
- 1975 - Ławka, dir. Andrzej Titkow;
- 1975 - Wyścig o życie, dir. Andrzej Zajączkowski;
- 1975 - Zderzenie czołowe / Front Collision, dir. Marcel Łoziński; jointly with Witold Stok and Roman Miastowski. Awarded mention at the National Short Film Festival in Cracow;
- 1975 - Życiorys / Curriculum Vitae, dir. Krzysztof Kieślowski; jointly with Tadeusz Rusinek;
- 1976 - Film nr 1650, dir. Marcel Łoziński;
- 1976 - Mikrofon dla wszystkich, dir. Tomasz Zygadło; jointly with Witold Stoki. Awarded mention at the National Short Film Festival in Cracow, 1976;
- 1976 - Próba wspólnoty, dir. Andrzej Titkow; jointly with Witold Stok;
- 1976 - Szkic etnograficzny, dir. Bohdan Kosiński. Awarded mention at the National Short Film Festival in Cracow, 1976;
- 1976 - Ten pierwszy, dir. Tomasz Pobóg-Malinowski; jointly with Stanisław Niedbalski;
- 1976 - Troska i nadzieja. Raport w sprawie ochrony środowiska, dir. Andrzej Ttkow; jointly with Wiktor Skrzynecki;
- 1976 - Wędrówka po ziemi augustowskiej, dir. Andrzej Jurga;
- 1976 - Wszyscy dla wszystkich, dir. Paweł Kędzierski, Leszek Tarnowski; jointly with Jacek Piotr Latałło;
- 1976 - Zapora, dir. Irena Kamieńska; jointly with Leszek Krzyżański;
- 1977 - Jak żyć, dir. Marcel Łoziński;
- 1977 - Kalosz, dir. Andrzej Jurga;
- 1977 - Klasa profesora Sautera, dir. Maria Kwiatkowska;
- 1977 - Nie Wiem / I Don't Know, dir. Krzysztof Kieślowski;
- 1977 - Przychodzimy, odchodzimy... czyli Piwnica Pod Baranami, dir. A. Górna, Lubomir Zając; jointly with Jerzy Zieliński;
- 1977 - Zapada czas, dir. Witold Stok;
- 1978 - Monsieur Jury, dir. Andrzej Brzozowski; jointly with Witold Stok;
- 1978 - Pani Zofia, dir. Maria Kwiatkowska; jointly with Jacek Czerwiński;
- 1978 - Vivat Akademia Górniczo-Hutnicza, dir. Marcel Łoziński;
- 1978 - Zwycięzcy, dir. Andrzej Zajączkowski;
- 1979 - ... Jeden z nas..., dir. Witold Stok;
- 1979 - Domki z innych kart, dir. Andrzej Zajączkowski;
- 1979 - Egzamin dojrzałości, dir. Marcel Łoziński;
- 1979 - Mój Kraków / Mein Krakau, dir. Krzysztof Zanussi;
- 1979 - Napisz mi coś wesołego, dir. Andrzej Chodakowski;
- 1979 - Syn-Sohn-Son, dir. Witold Stok;
- 1979 - Pielgrzym, dir. Andrzej Trzos-Rastawiecki; jointly with Bogdan Dziworski, Jacek Mierosławski, Witold Stok, Jacek Zaleski, Wit Dąbal and Krzysztof Ptak;
- 1979 - Prawdziwa bajka, dir. Andrzej Zajączkowski;
- 1980 - Gadające głowy, dir. Krzysztof Kieślowski; jointly with Piotr Kwiatkowski - WFD;
- 1980 - Powiedzcie im... dir. Andrzej Zajączkowski;
- 1980 - Próba mikrofonu / Microphone's Test, dir. Marcel Łoziński;
- 1980 - Robotnicy '80, dir. Andrzej Chodakowski, Andrzej Zajączkowski; jointly with Michał Bukojemski;
- 1980 - Park Narodowy, dir. Bohdan Kosiński;
- 1981 - Wzywamy was, dir. Bohdan Kosiński;
- 1982 - Azyl, dir. Andrzej Titkow;
- 1982 - Rozmowa 1982, dir. Krzysztof Lang;
- 1982 - Z kraju i ze świata, dir. Tomasz Zygadło (zdj. z Pawłem Latałło);
- 1983 - Credo..., dir. Andrzej Trzos-Rastawiecki; jointly with Bogdan Dziworski, Wit Dąbal, Jacek Mierosławski, Krzysztof Pakulski, Krzysztof Ptak, Zygmunt Samosiuk and Jacek Siwicki);
- 1983 - Sztuka dla milionów, dir. Tomasz Pobóg-Malinowski;
- 1984 - Trzeci sprawiedliwy, dir. Krzysztof Wierzbicki;
- 1985 - Dzień dziecka na wsi, dir. Paweł Kędzierski;
- 1985 - Takie miejsce, dir. Andrzej Titkow;
- 1986 - Ćwiczenia warsztatowe / Workshop Exercises, dir. Marcel Łoziński;
- 1986 - Piękny dwudziestoletni, dir. Andrzej Titkow;
1987 - Dzień jak rok, dir. Piotr Kędzierski; jointly with Stanisław Niedbalski;
- 1987 - Odwagi, ja jestem, dir. Andrzej Jurga;
- 1987 - Świadkowie, dir. Marcel Łoziński;
- 1987 - Więcej światła, dir. Stanisław Manturzewski; jointly with Stanisław Niedbalski and Waldemar Kolsicki;
- 1988 - Daj mi to, dir. Andrzej Titkow;
- 1988 - Pro Toto, dir. Andrzej Titkow;
- 1988 - Siedem dni tygodnia - Warszawa / Seven Days a Week - Warsaw / Semaine a Varsovie, dir. Krzysztof Kieślowski, film from the Dutch series City Life after an idea by Dirk Rijneke and Mildred van Leeuwaarden;
- 1988 - Soc..., dir. Piotr Łazarkiewicz;
- 1990 - 45 - 89, dir. Marcel Łoziński;
- 1990 - Las Katyński / Katyn Forest, dir. Marcel Łoziński; jointly with Andrzej Adamczak;
- 1991 - Siedmiu żydów z mojej klasy / Seven Jews from my Class, dir. Marcel Łoziński;
- 1991 - Teoś, dir. Michał Nekanda-Trepka;
- 1992 - Aterkomster / Powroty / Returnings, dir. Joanna Helander and Bo Person; jointly with Jacek Bławut and Krzysztof Pakulski;
- 1992 - Teater Attonde Dagen / Teatr Ósmego Dnia / Eighth Day Theatre, dir. Joanna Helander and Bo Person; jointly with Jacek Bławut;
- 1993 - 89 mm od Europy / 89 mm from Europe, dir. Marcel Łoziński; jointly with Arture Reinhart;
- 1993 - Autoportret, dir. Marcel Łoziński; jointly with Andrzej Adamczak;
- 1993 - Przerwany film, dir. Bohdan Kosiński;
- 1993 - The Unforgiving, dir. Clive Gordon, UK. Nominated for the 1994 BAFTA TV Award;
- 1994 - Pisarz, dir. Antoni Krauze; jointly with Ryszard Jaworski and Jerzy Murawski;
- 1994 - Warszawa 94. Podróż sentymentalna, dir. Marcel Łoziński, prod. Polska, Belgia;
- 1995 - Krzysztof Kieślowski: I'm so-so..., dir. Krzysztof Wierzbicki;
1995 - Po zwycięstwie 1989-1995, dir. Marcel Łoziński;
- 1995 - Prawdziwe życie, dir. Maria Zmarz-Koczanowicz;
- 1995 - Preisner czyli droga do sukcesu, dir. Andrzej Krauze;
- 1995 - The Betrayed, dir. Clive Gordon, UK. 1996 BAFTA TV Award;
- 1996 - Pontyfikat, dir. Andrzej Trzos-Rastawiecki;
- 1996 - Ślad, dir. Marcin Latałło;
- 1998 - Żeby nie bolało / So It Doesn't Hurt, dir. Marcel Łoziński;
- 1999 - Benek Blues, dir. Katarzyna Maciejko-Kowalczyk;
- 1999 - Guziki, dir. Jan Sosiński;
- 1999 - The Valley, dir. Dan Reed, UK. 1999 Royal Society Award;
- 1999 - Wódka, dir. Małgorzata Bucka; jointly with Adam Fresko and Józef Romasz;
- 1999 - Żwirowisko - ostatnia niedziela, dir. Magdalena Łazarkiewicz;
- 2000 - Horoskop, dir. Krzysztof Wierzbicki (photograpy from the film Pierwsza miłość);
- 2001 - Dlatego zrobiłem film, dir. Antoni Krauze; jointly with Jacek Knoppe;
- 2002 - Zamek in the series Nasz spis powszechny, dir. Jacek Hugo-Bader;
- 2004 - Dites a mes amis que je suis mort, dir. Nino Kirtadze, France;
- 2004 - Do potomnego, dir. Antoni Krauze;
- 2004 - Gadające głowy II, dir. Krzysztof Wierzbicki;
- 2005 - Andrzej Wajda: on Becoming a Filmmaker;
- 2005 - Andrzej Wajda: on Ashes and Diamonds;
- 2005 - Andrzej Wajda: On 'Kanał';
- 2005 - Auschwitz. The Nazis & The 'Final Solution' / Auschwitz. Naziści i 'Ostateczne rozwiązanie' (episode 3);
- 2006 - Jak to się robi, dir. Marcel Łoziński; jointly with Andrzej Adamczak, Radosław Ładczuk and Leszek Skuza;
- 2006 - Masz już to?, dir. Andrzej Titkow;
- 2006 - Szkoła podstawowa czyli wykształciuchy, dir. Tomasz Zygadło;
- 2007 - Kamienna cisza, dir. Krzysztof Kopczyński (zdj. z Hanną Polak);
- 2007 - Latawce, dir. Beata Dzianowicz;
- 2007 - Victoria jerzego franciszka Kulczyckiego, dir. Ignacy Szczepański; jointly with Stanisław Szabłowski;
- 2008 - Historia jednego listu, dir. Marcel Łoziński (in progress).
Documentaries - director
- 1994 - Po nowe naturalne środowisko teatru (also cinematography). A film about the Centre for Theatre Practices Gardzienice;
- 2000 - Cień. Wspomnienie o Jerzym Giedroyciu; also as writer (jointly with Mirosław Chojecki); camera - Piotr Weychert and Andrzej Ostaszewski. Made after the death of Jerzy Giedroyc, editor of the Paris-based journal "Kultura". A talk with Jerzy Kisielewski, son of a patron of Maisons-Laffitte, the long-time seat of "Kultura" and The Instytut Literacki, and with Giedroyc's friends and closest associates.
- 2008 - Czternaście dni. Prowokacja bydgoska, directed jointly with Grzegorz Eberhardt. About the beating of Bydgoszcz-based Solidarity champions, and its aftermath. A montage of documentary material photographed at the time of the provocation by a crew which included Petrycki and Eberhardt, as well as filmed material in the possession of the Institute of National Remembrance and sound-recorded material owned by the Polskie Radio. A dramatic story without a commentary - only the time of the events and the names of the people appearing are displayed.
Feature films - photography:
- 1976 - Spokój (TV), dir. Krzysztof Kieślowski;
- 1977 - Coś za coś (TV), dir. Agnieszka Holland;
- 1978 - Aktorzy prowincjonalni / Provincial Actors (feature), dir. Agnieszka Holland;
- 1978 - Okruch lustra (TV feature), dir. Andrzej Zajączkowski;
- 1978 - Wsteczny Bieg (TV), dir. Laco Adamik;
- 1979 - Amator / Camera Buff (feature), dir. Krzysztof Kieślowski;
- 1979 - Cham (TV), dir. Laco Adamik. Young Cinematographer Award at the Olsztyn Festival of Polish Television Arts, 1980;
- 1980 - Gorączka / Fever (feature), dir. Agnieszka Holland;
- 1981 - Kobieta samotna / A Lonely Woman (TV), dir. Agnieszka Holland;
- 1982 - Przesłuchanie / Interrogation (feature), dir.Ryszard Bugajski;
- 1984 - Bez końca / No End (feature), dir. Krzysztof Kieślowski;
- 1987 - Cyrk odjeżdża (feature), dir. Krzysztof Wierzbiański;
- 1990 - Europe,Europe (feature), prod. France, Germany, dir. Agnieszka Holland;
- 1993 - An Exchange of Fire (TV), prod. UK, dir. Tony Bicat;
- 1994 - Moscow Central;
- 1997 - Krok (TV feature), dir. Marek Piwowski;
- 1997 - The Mission;
- 1998 - A Kind of Hush/Byle zapomnieć (feature), prod. UK, dir. Brian Stirner;
- 1999 - Gunese Yolculuk/Journey to the Sun (feature), prod. Germany, Netherlands, Turkey. Awards: 1999 - nominated for the Felix European Film Award; winner of Golden Camera 300 of the Manaki Brothers International Cinematographers Film Festival;
- 1999 - Men in Pink;
- 2000 - Człowiek Wózków (feature), dir. Mariusz Malec. Nominated for Orzeł Polish Film Award 2002;
- 2000 - Enduro Bojz (feature), dir. Piotr Starzak;
- 2001 - List (TV feature), prod. Poland, Bosnia and Herzegovina, dir. Denijal Hasanovic;
- 2001 - Shot in the Heart / Strzał w serce (feature), dir. Agnieszka Holland;
- 2002 - Julie Walking Home / Julia wraca do domu (feature), prod. Poland, Kanada, Germany, dir. Agnieszka Holland. Nominated for the Orzeł Polish Film Award 2004;
- 2003 - Bulutlari Beklerken / Waiting for the Clouds (feature), prod. France, Germany, Greece, Turkey, dir. Yesim Ustaoglu;
- 2003 - D-Day to Berlin (TV feature), prod. UK, dir. Martina Hall, Andrew Williams (co-photographer: Luke Cardiff);
- 2003 - Shooters (feature), prod. UK, dir. Dan Reed;
- 2005 - Unkenrufe / Wróżby Kumaka / The Call of the Toad (feature), prod. Poland, Germany, dir. Robert Gliński;
- 2006 - Summer Love / Letnia miłość, feature, dir. Piotr Uklański;
- 2008 - Boisko bezdomnych, fabularny, dir. Kasia Adamik (in process)
TV theatre - photographer:
- 1990 - August Strindberg, Miss Julie, dir. Ryszard Ziobro;
- 1995 - Jacobus de Voragine, The Legend of St Christopher, dir. Krzysztof Zaleski;
- 1995 - Gustav Flaubert, Sentimental Education, dir. Krzysztof Zaleski;
- 1996 - Julian Strykowski, Przybysz z Narbony, dir. Laco Adamik;
- 1996 - Sprawa Stawrogina after Fyodor Dostoevsky, dir. Krzysztof Zaleski;
- 1997 - Wiesław Myśliwski's W poszukiwaniu zgubionego buta, dir. Izabella Cywińska. Mention at the Polish Contemporary Play Staging National Competition in Warsaw, 1998;
- 1999 - Szymon An-ski, Dybuk, dir. Agnieszka Holland;
- 2001 - Przemiana (1999) - written and directed by Lidia Amejko;
- 2002 - Bohumil Hrabal, Automat Svet (2002), dir. Izabella Cywińska;
- 2002 - Paweł Mossakowski's Rysa, dir. Krzysztof Zaleski;
- 2004 - Tadeusz Różewicz, Duszyczka (also producer and cameraman), dir. Jerzy Grzegorzewski. Photography Award at the Dwa Teatry National Polish Radio and TV Theatre Festival, Sopot 2006;
- 2004 - Marek Nowakowski, Książę nocy, dir. Krzysztof Zaleski;
- 2004 - Apuleius, Metamorphoses, or the Golden Ass (adapted by Włodzimierz Staniewski), dir. Włodzimierz Staniewski; co-photographer: Krzysztof Gołąbek;
- 2005 - Joseph Conrad, The Secret Agent (2005) dir. Krzysztof Zaleski. Photography Award at the Two Theatres National Polish Radio and Television Theatre Festival, Sopot 2006;
- 2006 - Robert Stiller, Kroniki - Obyczaj lamentacyjny (also producer and cameraman), dir. Grzegorz Bral;
- 2006 - Jerzy Pilch, Narty ojca Świętego, dir. Piotr Cieplak;
- 2006 - Słowo honoru, written by Krzysztof Zaleski i Paweł Wieczorkiewicz, dir. Krzysztof Zaleski;
- 2007 - Stanisław Wyspiański, Judges (2007), dir. Jerzy Grzegorzewski, produced for television by Jan Englert;
- 2008 - Hamlet Stanisława Wyspiańskiego after Stanisław Wyspiański, dir. Jerzy Grzegorzewski, produced for television by Jan Englert.
Furthermore, Petrycki was the cameraman of Stanisław Latałło's feature Listy naszych czytelników (1973) and a co-cameraman of Lasst uns frei fliegen über den Garten / Pozwólcie nam do woli fruwać nad ogrodem by the same director (1974). He was also the author and cameraman of some TV adaptations - for instance of Tadeusz Różewicz's Złowiony - Rekonstrukcje (1994), dir. Jerzy Grzegorzewski. Of note is also his appearance as an actor in Krzysztof Zanussi's Iluminacja / Illumination (1972). Last but not least, he was one of the heroes of Grzegorz Skurski's Zawód Operator, a 2007 documentary about cinematographers.
Author: Jan Strękowski, May 2008