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Cochamó del Mar a la Cordillera

Don José Sepúlveda is one of the last artisanal fishermen of Cochamó. Since the arrival of the fishing industry—particularly salmon farming during the 1990s—marine biodiversity has drastically declined due to seabed pollution.

Cochamó del Mar a la Cordillera

Daniel PastenePorDaniel Pastene
19 de junho de 2025
em Portfólio

Selecionado no Prêmio Portfólio FotoDoc 2025

When I first arrived in Cochamó in 2012, I was overwhelmed by its natural beauty—surrounded by ancient forests and towering granite walls, I felt as if I had stepped back into the time of the dinosaurs. Over time, I not only began to explore and learn about its ecosystems but also its community and history. I started to understand the language of the mountains through the daily lives of its people.

Until 1985, Cochamó was an extremely isolated territory, cut off from the rest of Chile. It could only be reached by sea or by spending days on horseback through the Patagonian mountain ranges. The people of Cochamó belong to a different kind of lineage—raised in a harsh climate, they had to learn how to endure isolation. This made them incredibly skilled in many crafts: woodworking, precise horsemanship, house and boat building, and above all, food self- sufficiency.

This short documentary is part of an ongoing project that seeks to highlight a unique cultural heritage of Chilean Patagonia, where the fragility of both its ecosystems and traditional ways of life are under constant threat from external forces—real estate development, mining, hydroelectric, and forestry industries—that see these lands merely as resources to exploit.

José Villarroel is a skilled boat builder and one of the last who still uses wood and traditional construction techniques. With the arrival of fiberglass boats, demand for his craftsmanship has declined drastically. Nowadays, he mostly builds toy boats to sell as souvenirs.
The Cochamó Valley is a stunning place, surrounded by massive granite walls, ancient alerce forests, rivers, and waterfalls. In recent years, it has become a popular destination among climbers due to its towering granite walls, earning it the nickname “The Yosemite of South America.”
Modern sawmills made working with wood much easier and became a source of income for many families. In the past, everything was done by hand, using double-handed saws and axes for personal use and small-scale production.
Oxen are like tractors in Cochamó—they’re the only way to transport wood from hard-to-reach areas.
The wood is pre-cut to specific dimensions to be transported by oxen.
Don Francisco handles the oxen with complete mastery—let’s not forget that each one weighs over 500 kilos.
Cristian Gallardo, better known as “El Mono,” building a dry toilet in the La Junta area of the Cochamó Valley. All the wood was cut and transported by oxen.
Mate is one of the most traditional drinks in Patagonia and is consumed at all times of the day.
In the past, large tubs made from alerce wood were built for hand-washing clothes. Carlos Chavez, may he rest in peace, began carving replicas to sell to tourists after electricity arrived in the area.
Elina Alvarado in her greenhouse. One of the great qualities of the elders of Cochamó was growing their own food. Today, fewer and fewer young people know how to farm, as fast food culture has also reached rural areas.
In Cochamó, I came to understand the relationship with food on a whole different level. Butchering your own meat completely changed my perspective on meat consumption. Here we see Don Francisco and Horacio in the process of butchering a pig.
Horacio Toledo in the middle of butchering a lamb—I remember his complete control and mastery. After finishing the process, he simply washed his hands and continued with his workday; not a single drop of blood or trace of the lamb remained on his shirt.
Portrait of the muleteer Cristian Igor with his mate.

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Daniel Pastene

Daniel Pastene

Daniel Pastene is a Chilean photographer and documentary filmmaker whose work focuses on the relationship between humans and nature, with a strong emphasis on the preservation of the cultural heritage of the Cochamó Valley in Chilean Patagonia. After living for twelve years in Belgium, where he studied music at the Ghent Conservatory, he returned to Chile in 2012 to establish a deep connection with nature and local communities. Since then, he has developed a visual body of work committed to the defense of the territory and mountain culture. He is one of the founders of the Valle Cochamó organization and serves on the board of the U.S.-based NGO Friends of Cochamó, from where he has helped lead various conservation campaigns, such as Conserva Pucheguín, in collaboration with Fundación Freyja and the outdoor brand Patagonia. His short documentary El Mono de Cochamó (2016), centered on the life of Christian Gallardo and the local community, has received international recognition, including Best Short Documentary at the Santiago Mountain Film Festival (2016) and Best Short Film at the Noche de Fogón Festival in Bariloche, Argentina, among others. His photographic work has been featured in both national and international media such as Sidetracked Magazine (UK), The Mountain Life Annual (Canada), The Alpinist (USA), and Ladera Sur (Chile), establishing him as a visual storyteller who weaves together themes of mountains, community, and conservation.

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