This work is a reconciliation between photographic seeing and ocular seeing. In a sense it is an examination of how we see, what we see, what merits being seen, and how photography functions in contemporary visual culture. Our primary cultural relationship with photography, even in the digital age, is largely based on our private consumption of representational images (snapshots and reportage.) Consequently, many people view the photograph as a mechanical reproduction of reality. In this paradigm, the photograph functions not as an object, but as a conceptually transparent representation of a reproduced reality. It addresses the use of photography as record, the affect of text in forming an understanding of the image, and how people relate with the photograph as object. When an image lacks focus it defies the conventions of contemporary photography and forces us to reconcile our coded visual language and the photographic object. Every photograph carries with it intention, and the weighted knowledge that each image is the result of deliberate choices. Blur is also an acknowledgement of the camera as the mediator of sight. It is a formal study of photography, and how the camera functions as an optical device, not merely the invisible means for transporting the viewer into another reality.