Blind Field draws its name from Roland Barthes's concept of punctum in Camera Lucida, where the "blind field" extends beyond a photograph's edge, suggesting meaning just beyond perception. This series explores these tensions by reimagining photographic tools as animistic sculptures, investigating the relationship between the apparatus, image-making, and the material economies that shape them. It references historical works—from Lilly Reich's installations of industrial materials to the expressive drapery in Renaissance painting, described by Aby Warburg as driven by an "imaginary breeze" beyond the frame. Materials like plastic, aluminum, and steel function both as medium and metaphor, subtly invoking the extractive industries that have long supported the photographic medium. Lighting and staging techniques borrowed from commercial still life highlight production value while critiquing the labor and capital behind the image economy.