This article deals with arbitrarily appointed photographic attributes resulting from its spectacularity. ‘Spectacularity’ is hereby considered as a way that shifts its meaning connected with theatrical effects which are nowadays somewhat colloquially understood as ‘uncanny’ or ‘attractive’. Each attribute of photography as defined by such consideration becomes photography’s differentia specifica designating a different from other media the way of functioning in the culture of iconosphere. The way in which this happens forms close relationship between photography and culture (broadly understood), and especially with science, information and entertainment. These associations are complementary (especially with linguistic forms) in forming cultural communication. The process is diachronic, strongly conditioned by both socio-political changes and technological development.
The attributes of spectacularity include the documentary objectivity of photography, the practical absence of image quality in the decoding of iconic meanings, the complementary extension of the semantic field to the co-existence of the language and the existence of beyond-iconic potential contextual meanings.