The first part presents a brief summary of the historical genesis of cameraless photography in the context of the general history of photography. In line with G. Batchen's concept, the work emphasizes the autonomy of this technological and expressive process and qualitative comparability with the procedures and manifestations of classic camera photography. This "photographic history" culminates in the development of avant-garde photographic experiments, especially in the systematic development of Man Ray's "rayograms." Against the avant-garde concept (dadaism, Bauhaus, elements of graphic constructivism) is defined the concept of Běla Kolářová from the beginning of the sixties of the 20th century, which forms the very theme of the work. Specific procedures and concrete results of Běla Kolářová´s work ("artificial negatives", "X-rays of the circle", "light drawings") are observed in the context of the creative experiments of the Czech art scene of the time: visual poetry, J. Kolář's collages, Czech informel, neoconstructivism and geometric abstraction, „Confrontation“ and „Crossroad“ groups, etc. The originality of Kolářová's contribution is reflected through the analysis of the interpretation works of the Czech kunsthistory (J. Hlaváček, J. Valoch, K. Císař, J. Padrta and others). It is emphasized in what Kolářová's creation of photograms exceeds conventional classifications, and what specifically refers to non-derived creative resources and conceptualizations (M. Duchamp, R. Caillois, surrealism, W. Benjamin). From these comparative aspects, the conclusions are generalizing the contribution and importance of the cameraless photography of Běla Kolářová as a legitimate part of the history of Czech visual art of the second half of the 20th century.