The workers’ photocard appeared early in the twentieth century. Taken inside factories or as workers were leaving, in modest establishments or on small building sites, commissioned by the employer or produced on the initiative of a photographer, these images were a milestone in the history of photographic representation. Thanks to this new vehicle, received as a gift or bought for next to nothing, men and women workers were able to appropriate their image and circulate it among their family and friends. They could actually possess their portrait as a worker and do as they liked with it. This appropriation profoundly affected their relationship with their own image. Here the photo card is considered in its entirety: in terms of both its reproduced image and of the indications provided by the object itself.