This article investigates the role photographic images had and still have in shaping the perception and the definition of the American West, focusing on the practice of “re-photography” as adopted and interpreted by some American projects. Based on relocating the vantage points in order to see the changes over time, this technique has been used by scientists and geologists since the 19th century, then by professional, commercial or amateur photographers, and introduced in the art world since the 1970s. I begin by considering the practice of re-photography in its more metaphorical sense as a re-framing – of the West from wilderness icons to man-altered landscapes, but also of photographs of the West in and out the art field – to focus on projects which use this technique of relocating the exact points of view, from the collective surveys Second View: The Rephotographic Survey Project (1984) and Third Views, Second Sights: A Rephotographic Survey of the American West (2004) to the more recent Reconstructing the View: The Grand Canyon Photographs of Mark Klett and Byron Wolfe (2011) and Oblique Views: Aerial Photography and Southwest Archaeology (2015). I conclude by “re-framing rephotography” through some contemporary examples – websites or mobile applications – of this practice.