This study attempts to find out how photos recording the First Sino-Japanese War reflect the viewpoint of European and American powers in modern Joseon and how Japan's imperialist values were reflected in the media. Generally, the politcal and social nature of media limits the viewpoint of the photographer because he or she is dependent on the media organization he or she belongs to. About 100 visual materials left from the war were analysed to examine the social images of the late 1800s. In addtion, how the photos were introduced in Japan, China and the West were traced to find out the meaning of these photos. This study examines how photos recording a war, which should be the most realistic, reflect the characteristics of the media organization the photographer belong to as a photographer or animator records visual materials and draws animations like photos. During the Fist Sino-Japanese War, the meaning of photos as a social tool had not yet been put together. Although they understood the importance of recording history the concept of recording had not been esatablished and the recording methods, their importance of differences in information and records existed. Photos were therefore used only as a proof. The value of photo images produced without even realizing the records. This study shows how the violent images of modernization during the Joseon Dynasty were introduced to the European and American powers without filtering.