This chapter engages with a collection of photographs amassed by Chinese American teenager Frank Jue between 1915 and 1919 and assembled into an album sometime in the 1920s. It asks how vernacular practices of looking such as photographically mediated sightseeing help (re)produce the relations through which diasporic subjects constitute themselves as a community. The photographs in Jue’s album reimagine and reclaim space in ways that interrupt white supremacist projects of territorialization, but fail to address the histories of Indigenous expropriation on which even Jue’s reflexive photographic gaze depends. If the album’s challenge to heteronormative Euro-American projects of national reproduction is in the end limited, the author concludes by reflecting on her own desire as a diasporic subject to keep it close nonetheless. This chapter begins with a collection of photographs amassed by Chinese American teenager Frank Jue between 1915 and 1919 and assembled into an album sometime in the 1920s. It explains how vernacular practices of looking such as photographically mediated sightseeing help reproduce the relations through which diasporic subjects constitute themselves as a community. Along with photographs of Jue's friends and family taken in their hometown of Portland, Oregon, photographs of Pacific Northwest landmarks and landscapes comprise a second major grouping in the album. Jue's album explores the possibilities and limits of photographic self-making for Chinese diasporic people. Reading the photographs of Jue's Portland life in relation to his photographs of the Pacific Northwest wilderness and the people at work and play within the landscapes brings out the extent to which intimacy is staged out of doors. Jue's sensitivity to the operations of the camera as a device for framing and making views derives from the embodied experience of sightseeing.