Abstract
Cultural representation begins before image production as visual ethnographers make equipment purchasing decisions. In this article I examine the choices made at this stage in relation to one particular category of equipment and technology choices, color filters. I explore ideas about their use and their image manipulation potential in comparison with other common visual technologies. These ideas form the basis for a recommendation toward developing a critical approach to the role of image‐producing technologies in visual representations of culture, and for creating a visual framework where aesthetics and accuracy are not mutually exclusive categories.
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