As digital technology has advanced, the capture and dissemination of war photographs have been able to show the real-time situations and impacts of wars to the public. However, this has also led to the influx of false information and manipulated images, making it challenging for the public to discern the truth. In contrast, photographs captured through traditional media undergo multiple evaluations and reviews before being broadcast, ensuring a high level of credibility. Therefore, this study aimed to integratively explore the visual components of traditional war photographs disseminated through these conventional media channels. To achieve this goal, war-related photos from Pulitzer Prize-winning works in the 20th century, known for their representativeness in photojournalism, were extracted. Based on Rodriguedhk and Dimitrova's visual framing model, the study aimed to examine the characteristics of the visual components of war photographs from various perspectives and explore the implicit consciousness of the photographers. The research divided the visual components into ten categories, conducted statistical analysis, and based on the results, further delved into detailed integrative studies on war photographs under four main themes. The findings revealed, firstly, that traditional war photographs primarily focused on depicting the harsh realities of war, often concentrating on relatively stable areas like rear positions rather than the frontlines due to technological limitations of that era. Secondly, the study identified that the implicit consciousness of photographers embedded in war photographs mostly reflected their resentment towards war and a yearning for peace.