It has been approximately a century since a ready-made was severed from its context as it was or after a certain intervention and represented as an art object. The use of ready-made, which is the most radical suggestion of the utopia of blending life with art, comprises the use of ready-images as well; its use indeed predates that of ready-images, which has led to thought predominating aesthetics in art works. This article examines the avant-garde roots of the attitude of ready-image use, delving into the artists that use ready-images in contemporary photography. Problematizing the change and transformation of ready material throughout the century, the article claims that the only aspect that has changed with the use of digital technology is material. It designates the beginning of contemporary art as 1960s and cites Pop Art works as first examples, limiting its scope to Postmodern Art, Critical Conceptual Art, Contemporary War Photography and Vernacular Photography. As can be seen in the in-depth analysis of sample art works that reflect the topic at their very best, the use of ready-images is highly widespread in contemporary photography; thus the article is believed to constitute a significant contribution in terms of understanding its causes and effects.