With the advent of early modern cities in 18th century, a new activity emerged among the leisured class. They started touring nature to seek visual pleasure. However, their viewpoint was not of their own, but from paintings they had seen before: picturesque, as the word definition suggests: “Fit to be made into the picture.” it could be argued that their experience was a photographic one since, scenes they searched for were already framed and depicted by painters with the aid of Claude Glass. Now, a city such as Tehran has devoured its surrounding environment, answering all of its inhabitants’ needs within itself. There are places inside the city, mostly at heights, providing views over other parts of the city which continue till the horizon. Some of these sites' visitors turn their backs on the scenes in order to take selfies, just like those painters who observe picturesque by looking at landscapes' reflections inside the Claude Glass. By appropriating the visual language of picturesque and printing these works on canvases I aimed to unmask the second-handedness of such experience inherited in the word of picturesque itself.