 As we come to the end of our module, let us discuss what the visual brings to ethnographic research. Often practices and activities are easily represented through visuals. Film in particular can record objects and the making of objects. Visual descriptions make it easy to convey and understand complex activities such as tying a shoelace, making pot tree and so on. Visuals can convey the visual aspects of an activity such as the colors used in painting a coward or the dots used in veal painting. These visual elements we have seen can hold a deep significance for the members of that culture. Images are easily read and transported across cultures. This is because they are less likely to be marked by culture-specific conventions of language. Even though the ways of seeing and reading an image differ across cultures, an image made in one culture can still be read in another. For the same reason, visuals enable collaboration and participation among researchers and participants. By documentation and recording visuals, participants may share authorship and ownership in a project. Moreover, through methods such as photoelicitation, participants can contribute their knowledge and their perspectives to the research. Images and words together can help the viewer better understand the context that a research is set in. Together, using these two forms, we can create ethnographies that are richly descriptive and grounded in the context. Visual records lend themselves to multiple interpretations. Visuals can be repeatedly analyzed and from different perspectives, each time the same record or the same image may generate new interpretations and new meanings. Visual ethnographies or the records created in the process are quite likely to become a part of the participants' visual culture. For instance, images we make of our participants may be appreciated by them as portraits or memorabilia of their own lives. Films made as collaborations between participants and researchers often become a way for participants to represent themselves. In all of these ways, visual ethnography offers us not only new roots to knowledge we may have accessed in other ways, but new forms of knowledge altogether. But there are limitations to the use of visuals in ethnography. For one, in using visual mediums, particularly film and photography, it is difficult to maintain the privacy and anonymity of our participants. Also, people are often uncomfortable being represented visually before an audience they might not know. Moreover, participants have less control over where their images may travel in today's internet age. And finally, visual ethnographies run the risk of placing the visual, physical aspects above and before the intangible emotional ones. For instance, the beauty of a landscape may overshadow the social inequalities that exist there. Or the focus on a craft object may sideline the processes of making it and the lives of the craft's person. Just as images reveal more than they conceal, they may conceal while pretending to reveal. Thus, we need to be conscious, aware and reflexive in researching the visual aspects of our culture or when we use visual mediums to record and represent our participants.