Photographs or images as one may call them, have always been in the interest of art, mass media, culture, science etc. They have the power to illustrate a situation, to pass a message and even if they are not a sequence of moving images like the audiovisual works, they still can catch a moment in time and make it special. This is why photographs or ‘photographic works’, as they used to be called, are in need of protection even if we live in a world concurred by the audiovisual industry. Indeed there are legal provisions all over international, european and national laws which foresee their inclusion in the subject matters of copyright. These laws have not been implemented so as to deny access to the works but on the contrary to encourage creation and in a lawful way in order to achieve the balance between the creator and the public interest. Technological developments and progress though have facilitated public interest to have easier access to all these works especially via Internet, unbalancing the creative sector and having caused many problems to authors and even to exploitants who own licenses of these works. Problems are usually created to matters of copyright and of course to the revenue streams that photographers expect but due to lack of tracking control and vast media convergence is not received. This paper examines the legal framework that covers the copyright protected works of photography in all levels; focuses on the doctrine of ‘fair use’ from common law tradition and how it is sometimes observed in European Union court decisions; combines ‘fair use’ and digital convergence as a phenomenon of interests’ conflict; draws indicative recommendations which bring together conclusions of scholars, theories, practices and legal analysis. The aim is to reconsider the current legal system, make efforts to change the problematic areas and evaluate photographs as a work worth better protection and attention.