K-pop albums are known for their inventive packaging, concept-driven photobooks and collectible inclusions. Even as streaming has become the dominant way to listen to music, physical albums remain an important part of the K-pop fan experience. In recent years, photocards have become a particularly prominent feature of that market, encouraging fans to collect, trade and purchase multiple copies of the same release.

Before streaming was introduced, K-pop fans collected albums for the whole package, including the physical CD inside. But since apps like Spotify, Apple Music, YouTube Music, and other streaming platforms have become the dominant way to listen to music, CDs now often go untouched. Rather than the album itself being viewed as adding value to fans’ collections, it’s the photocards inside.

With most K-pop albums including selfies and photos of idols printed on high-quality cardstock, or heavy paper, photocards have seemingly become even more valuable to K-pop collectors than the albums themselves, both emotionally and financially. Depending on market value, extreme scarcity, and high fan demand, certain photocards can be worth anywhere from just a few dollars to hundreds, or even thousands. The act of collecting photocards has turned into a subculture in its own right – one that comes with its own set of pros and cons, like any other collecting hobby. But where did the concept come from, and why have photocards become such a hot commodity within the K-pop community?

In 2007, SM Entertainment introduced photocards for TVXQ’s Japanese single Summer ~Summer Dream / Song for You / Love in the Ice~, in what is often cited as an early example of the format in K-pop. The release came in multiple editions, including Versions A and B, as well as a limited Bigeast edition for the group’s official Japanese fan club.

However, it wasn’t until 2010 that photocard culture officially took off, with the release of Girls’ Generation’s second studio album, Oh! While TVXQ’s photocards came with member-specific cover jackets, Girls’ Generation became the first group to introduce randomized PCs, in which each physical album included one random card out of nine – one for each member. This quickly became a huge incentive and selling point for fans, with many buying multiple copies of the album in hopes of pulling a new photocard each time. After seeing how the element of surprise fascinated collectors, SM Entertainment began implementing the trend for all its groups following the release of Oh!, with other K-pop labels following suit.

Interestingly, the concept of collecting photocards predates K-pop by more than a century. In the mid-1800s, cartes de visite (French for “visiting cards”), or CDVs, became popular collectibles. According to The New York Historical, these small, mass-produced portraits depicted actors, musicians, royalty, activists and ordinary people, including family and friends. Mounted on cardstock, they were collected, traded and sold among the public, with many collectors storing them in albums to display and share.

The practice bears similarities to modern photocard culture, with both serving as a means of personal expression and social connection. Today, K-pop fans gather at events to trade photocards or exchange them by post with fellow collectors they have met online. In the 19th century, CDV collectors similarly used portraits to connect with others who shared their interests. By the 1960s and 1970s, collectible photographs had also become a marketing tool within the music industry.

Founded by American record executive Berry Gordy in 1959, Motown Records helped popularise the use of artist imagery and memorabilia to build connections with audiences. Artists such as Diana Ross & the Supremes became the subjects of collectible photographs and other merchandise, extending their appeal beyond recorded music. This broader tradition of collecting artist memorabilia offers a useful historical comparison with K-pop’s photocard culture, which would later develop its own distinctive approach to album inclusions, limited editions and fan collecting.

Since Girls’ Generation popularized the concept, photocards have become a second currency for fans by buying and trading cards to collect their bias, or even selling them to make an extra buck. This can be done in many different ways, including in person, on secondhand marketplaces like eBay and Mercari, or even on photocard-dedicated apps like Pocamarket. Limited-edition cards that could only be given as event-exclusive perks and pre-order benefits have also become standardised, too. These exclusives are often produced in limited quantities, fueling the scarcity mindset that many collectors have.

Some fans have turned photocard collecting into a side business, carefully curating their inventories and researching which cards are most sought-after and scarce. Rare photocards can reportedly sell for thousands of dollars, with BTS’ Jungkook among the most expensive examples. His “Butterful Night” lucky draw event photocard has reportedly sold for $3,213, while Jimin’s card from the same set has been listed at $1,432. Other high-value examples include TWICE’s Chaeyoung’s “Cheer Up” event photocard, reportedly valued at $1,342, and NCT’s Taeyong’s Special Yearbook photocard from the group’s 2020 album, reported at $870.77.

However, photocard collecting can sometimes shift from an enjoyable hobby into compulsive spending. Within K-pop fandoms, paying significant sums for small pieces of card featuring favourite idols has become a running joke, despite the high prices some collectors are willing to pay. As collecting has become an established part of fan culture, such purchases may seem increasingly normalised. While spending money on a hobby can be rewarding, the pursuit of rare or highly sought-after photocards can take a financial toll, particularly when collectors feel compelled to pay premium prices to complete their collections.

The obsession is one of the many downfalls of collecting and can lead some fans to go as far as taking out loans or maxing credit cards with money they don’t have. What makes matters even worse is falling into the traps of scalpers – people who buy scarce items to create artificial shortages and resell at high prices. When the toxic scalping practices mix with the distorted scarcity mindset of fans, the hobby is no longer a safe haven, but a suffocating desert with vultures waiting around for their next gullible prey. That’s why many fans set limits for themselves – a reasonable price range they vow to never stray too far from. With more intentional and financially aware purchases, the fun of collecting photocards doesn’t have to break the bank or cause unwanted stress.

But there are other joys of building a collection, such as organizing and curating the photocards to suit your tastes, personality, and personal goals. While non-photocard-focused collectors will keep their PCs in the album, dedicated collectors have entire binders full of their collection. There are hundreds, if not thousands, of how-to videos, fans' tips and tricks, and even advice threads and videos on organizing and decorating photocard binders. Fans will showcase and compare binders with friends and collectors online to bond over the DIY nature of the hobby. It’s an exciting and creative way for those who want their photocards in pristine condition, keep track of what they have and what they’re looking for, and to admire the chosen aesthetic for their collection.

And if binders aren’t someone’s style, another popular way to show their fandom is to insert photocards on the back of their phone (with a clear case) or attach photocard-holding keychains to their bag or outfit. There are endless ways to personalize a collection, and each serves a different purpose for everyone.

Since their introduction nearly 20 years ago, photocards have forever changed the K-pop industry, driving the trend of album multi-purchasing, transforming consumer culture, and fostering deep social bonds among fans and emotional bonds between fans and their idols. As tangible symbols of an idol’s presence, photocards are now integrated into fans’ daily lives even more so than the albums they came with.