![]() While Defence Public Relations photographers worked in the same theatres and situations as combat troops, including the bases, the towns and cities, on operations, aircraft and helicopter flights and at sea, they operated under significant constraints. In contrast, the Memorial holds more than 8000 photographs from the Korean War, covering a period of less than three years. While this may seem a great many it should be realised that they represent the work of some forty photographers over a period of nine years. The Australian War Memorial holds some 10,000 Defence Public Relations negatives from Vietnam. Freelance photojournalists also covered the War producing some of the grittiest images, which were highly saleable to publishers. Amateur photographers from within the ranks took snapshots to act as a personal record and as mementos of the events, places and people they had seen. ![]() The result was that most of these images have greater value as promotional material rather than as documentation of the conditions and conduct of the war. Unlike in previous wars, Defence did not appoint official military history photographers and cinematographers, relying instead on their own Public Relations photographers. At the same time, still photography was produced by the Department of Defence for publication in newspapers and magazines. Television, in particular, changed the way in which Australians received images of conflict with its ability to show audiences graphic film footage of events almost as soon as they occurred. Television, magazine and newspaper pictures provided the major source of visual imagery during the war.
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