mustafah abdulaziz – chile


Patagonia Cowboy

Sebastian Iglesias, a Chilean cowboy, leads his horse through the mountains in search of roaming cattle in  southern Patagonia, South America. These gauchos forge a hard life, riding from sunrise to sunset.

photograph by Mustafah Abdulaziz

Website: Mustafah Abdulaziz

52 Responses to “mustafah abdulaziz – chile”

  • **the mood of this image is intense.. I almost want to take the next step with him… Dramatic lighting, and figure in background is intriguing… want to see more, will visit website!! Lots of energy captured in one frame!! **

  • Mustafah,

    I have seen your site before. Not sure how I originally discovered it but your work is great.
    Just like I like it! Count me as a fan.

  • Woo….truly beautiful. Thank you.

  • This image is beyond sweet. Excellent selection.

  • Beautiful, amazing picture, Mustafah. The work on your website is consistently strong, love your vignetting, your palette. we’ll be seeing a lot more of your images everywhere in the coming years I would bet.

    The cowboy essay on your site is full of stunning, intelligent images — where does all this young talent come from ???? yowza.

    [[ Note/suggestion to david and anton — before posting singles, you perhaps could consider renaming the jpegs so those who might just happen to drag one to their desktops will know where it’s come from — e.g., mustafah’s cowboy portrait file is named “img_4623-3bws.jpg” – change that to “burn-mustafah_abdulaziz.jpg” or something similar. possibly embed some info in the photoshop file info window as well — no? ]]

    Thanks for introducing mustafah’s work to us, david.


  • Ooh-la-la! In my next life I want to be a Chilean cowgirl. Photographically speaking — Mustafah, this is exquisite. Big congratulations.

  • Congrats Mustafah! I have been a long time admirer. Absolutely wonderful character and atmosphere.

  • Mustafah,

    This is a great photograph and I really enjoyed looking at your site and seeing the more complete essay. You seem to have a very good eye and so many impactful photographs. Again, very nice work!


  • Discovering some great photographers through burn. Amazing work. Inspiring. Went to your site and had to by your book.


  • Like the content and composition of the image but left with the impression that I notice
    the vignetting before all else so,in my opinion,would regard the technique as a
    little too important for my taste.


  • pure photography. excellent.

  • Hi Mustafah,

    I like this photography and more your essay Patagonia Cowboys and Crime in Mexico City, I am very happy to know you.

    Best regards, audrey

  • Mustafah, this image and most of the images on your site are filled with interesting, powerful, and universally intriguing subject matter. there is a sense of drama and style that underpins them.

    the subject matter and compositions of your work are solid, but in my personal opinion, this style and drama just screams ‘sliders‘… the slider that has vignette above it, the slider that has clarity above it, the slider that has recovery above it, and various other colour/contrast sliders that you might discover in a chapter of lightroom killer tips. in my humble personal opinion, this image and most of your other images just seem over-processed.

    i’m not using over-processed in an unkind way, just as a way that describes best what i think of when i look at your images. i’ve come to this opinion for much the same reason i didn’t come to this opinion with Angelo Guarracino highly processed images.

    With Angelo’s images, for the most part, they did not betray how light is supposed to behave, how contrast is supposed to behave, how ‘clarity’ is supposed to behave, how dynamic range is supposed to behave… in photographed life.

    i feel these aspects of your images makes me think of your images less as photographs and more like a graphical ‘rendition’ of a photograph. Maybe this is where photographic tastes are drifting now, but i hope not,… it’s a stretch away from a visual truth for the sake of style.

    that being said, most people will like this image, customers of wedding photography will drool over these types of images, they also drool over selective colouring. i guess it goes back a bit to what i was trying to explain here…

    but if your images are interesting enough and strong enough with out going down this highly-stylised path, (and i think yours are Mustafah), then i would pull out techniques as severe as these only to make a weak image usable, verses make a strong image look stylised.

    again, this is just what i think when i look at this image and the rest of the images in your portfolio, it’s just an opinion, take it as no more than that, keep in mind there are fourteen opinions above my own that describe just the opposite opinion and there will likely be double that after this one that disagree with me as well!

    Best Wishes Mustafah.


  • Fantastic shot, Mustafah. The image “swalows” you into the frame with such a dramatic light. For me, it is just perfect.

    And the whole Patagonia essay is great. Congratulations!


  • I agree with Joe about author’s images being heavily over processed. IMHO these images are “digital art”, not documentary. I’m really sorry to see where we are heading with our digital workflows in regard of documentary photography. And sad part is that most people can’t tell the difference or don’t mind…

  • First off, thank you for the kind words and for taking the time to visit and see my work and I’ll be returning the gesture right after I post this.

    @Joe: This project was shot on a mixture of 35mm digital and various film over a three month period and so I attempted to maintain a level of consistency for the visual style that was something I desired while something that fit the subject matter.

    That said, the exposure for this photograph was not ideal. Having leapt off my own horse, I had ran across pampas (soft wet earth) just to approach him slowly from the direction of the wind, where he could not easily hear me. I was more concerned with capturing this moment of complete solitude than with the perfection of the exposure, which to me, was well enough to pull some detail in areas, while unfortunately blacking out some others.

    And so, I will readily admit I’d like to have a more even exposure but in truth, there are a lot of things I would like! We photographers work in a shifting world, one that presents and hides moments in a matter of nanoseconds. To hesitate and be concerned over the perfect exposure–for me–is something I would rather not do, if it means loosing moments like these.

    Thanks everyone!

  • beautiful work. i love the whole essay of this work. the images are timeless… DAH – thank you for introducing us to Mustafah’s work.

  • Mustafah :)))))))

    wow, what a terrific surprise to open up Burn this morning to find your gorgeous “gaucho” ;)))….as you know, I love the chile work very very much…and I am so happy that people here (and elsewhere) have had the chance to see your new website and the power, maturity and vision of the work :)))…in this photograph, i have always love the contrast between his occupation (gaucho) and the tenderness and innocence of his face, as well as the startling contrast between the white light (halo) ringing his face and the finger of brooding dark along the crown of the hills in the background….contrary to what Joe suggests (and i don’t know how much this is PS or developing of the film or in the darkroom), i think the images are fine, particularly if the visual aspects of the photographs have metaphorical or verisimilitudinal power….what the hell are they going to do with my boiled negatives ;))))))….

    the style of a photograph is about the language that the photographs seeks to use in which to speak or reflect his/her experience of the memory of a moment, place, person. All photography is false and a stylization of the experience of sensorial memory. all photographs lie, it’s only that some photographers recognize this more and are more upfront about it. The tendency to use vignettes for their own sake as often bugged me too, but depending on the camera, film and light conditions, they become a natural part of the image. if someone, for examples, uses a holga or diana or pin=hole camera, with b/w film, shoots under low light conditions, pushes that film in development, the gray tones will drape over to blacks, especially in the border…a natural consequence of the tool…more over, some maybe drawn to 19th century photo, or silent films, and love the approximation of the iris-vignette to the coming into and out of a dream….for me, …the question about stylization for me becomes: is it a part of the took kit and language of the photographer or is it just superfluous cutsy stuff….

    I’ve known your work long enough to recognize it as a part of your photographic venacular…..Abdulaziz layin’ down a track….;))))

    great pic, great series, welcome aboard amigo!


  • Mustafah, Good to see your stuff here!
    All best!

  • thanks for the response Mustafah. i agree a sense of moment will always beat out a ‘pretty’ picture and this image surely has ‘moment’ magic.

    did you find there was a flipping point during the three month period where everyone became numb to your presence?, or did you find they never fully relaxed to the camera?

    BTW, My favourite frame from the essay is frame three; it’s a widely dynamic composition (very unusual perspective indeed) and you get this unnerving feeling it’s all about to collapse.

    Again best wishes,

    -Joe (not Mr. Real Reportage… in case someone else might be so Confused or Rude to think so!… that’s just a domain name silly!)

  • Absolutely beautiful; I, too, will visit your website. There is great visual power in B&W. Regards. DR

  • Oh too much perfection.
    Pictorialism is back again stronger than ever and it reminds me of a GAP commercial, or even Levis 501 jeans. No wonder 9 out of 10 responses here are from the ladies or generally speaking sensitive men. It seems that our photographer here loves his latest Photoshop version. i clearly see a “GREAT looking” photograph because the photographer’s intention was only that and nothing more. In other words i see a “not that good looking girl with lots of make up applied on her face or maybe a middle aged with big belly guy in a Ferrari.
    The photograph is great but the photographer here tries TOO HARD ( much ) that it gets in the way :
    Too fake.

  • Right. REAL men like straight from the camera hard-hitting uncompromising images. Real men realize that the camera is not a creative tool; real men believe there is only one way to shoot a picture.

    8 trillion photographers out there, the medium is morphing every single day as the legions of image-makers long to express themselves. Look around at your world, tell us that there’s one right way to make an impactful image.

  • Pit (bull?) ;)))

    pretty funny actually your concern with the seemingly “fake” nature of the photograph. All photographs and all photographers fail in that a photograph is nothing more than a manufactured thing (moment, print, image, story) that was born from a photographers attempt to relate, through the language and media of a light-sourced mechanic, what she/he saw, remembered, hoped to describe. Photography, like all human attempts at expression (u name it: art, music, writing, photography, fashion, speech, scribble, haircut, choice of diet, exercise, religion, fav vid game tool), is simply a tool by which a person attempts to communicate or relate or enjoy the experience of living and losing. Pictorialism never left just as abstraction or conceptualism was there at the beginning of the 19th century (or earlier: camera obscura anyone? ;) ). I dont think the picture “loos great” in fact, i think it looks like a photograph. As i wrote above, one can feel removed from photographs born of a style (just as some speech aint for everyone, surely my own long and often overly-idactic comments as an example) but his should not be a condmenation of that style, for the appearance of a photograph(s) is born in from the algebra of what makes sense to the photographer. that you dont feel the image: cool, no worries, aint no big deal, though i see little “perfection” (we talking about it’s relationship to life, to a ‘perfect’print) in the above photograph. I know i would love to know what a ‘perfect’ photograph looks like and since ‘perfect’ needs a standard by which to be marked, what is that standard: the history of photography, digital technology, the approximation to actual life, seamless appearance, what? Marketing/Advertisement has always appropriated the look of art, just as art as always been inspired and influenced by all manner of graphic life, be it real or manufactured. …I personally do not see a ‘great photograph’ but an image that speaks to me on a number of levels, pleasure not being the least important.

    the use of PS is a bit of a canard for me, because PS generally is no different than what one tries to accomplish in the darkroom. i know, i use film and print in the darkroom, though increasingly that part of my work is less important to me. Have you ever seen HCB’s contact sheets or test prints with his notations of what to burn, what to highlight, what to obsolve, what to dodge or bleach…….any phootgrapher (who work with either film or digital tools) knows that a photograph is many things to many people: what happened in the camera, or the darkroom. many many photographers do not even print their own images, are they less real?…it’s an empty argument as soon as someone condemns work as ‘fake’…or ‘perfect’….

    all we can to is suggest that photographs grip someone or they do not, move them or do not, inform them or do not, inspire or not, speak or not….the only real criticism is as a photographer tires to see if their attempt at making these things feels ‘authentic’ to the experience they’s hoped to accomplish: that maybe as document (like PJ/Documentary), that may be as emotional or intellectual idea (art/conceptualism), it may be as memory (family album)….

    on last idea: and what is the goal of the family album….all those pixelated images now we all share with one another ans stick into digital moving picture frames…

    for me, it is just that…that somehow we hold on (for good or ill) to these small things, photographs, as reminders of something…

    can it be reminders of a small, inelectuable truth: that once we were…..


  • Just makes you want to sing Git along, little dogies, git along, dont it? great pic, Mustafah

  • git along
    git along… little doggies…laughing….
    good morning Akaky, good morning world…
    ( ..& i agree : “great shot Mustafah…)

  • Love your work. I feel it in my fingertips.

    mysterious. compelling. free. engaging.


  • OK, Bob… when do i get to be the good cop? you’re forever putting a black hat on my views ;-) well, the darkroom card doesn’t fly with me Bob, probably because it has nothing to do with the counter-point being thrown.

    yes, you can dodge and burn and fog and bleach, heck, if you want to dig out September’s issue of Black and White Photography you can even see how to selectively colour analogue prints. But, this is not about the adjustments you make or how you make them; if it were we would be having this discussion on the much more extensive and much more surgical efforts of Angelo.

    this is about the results of adjustments; results whether they are analogue or digital. it’s about how far you stretch the results from the reality. and you can stretch both analogue and digital to a point that it is more distracting that tasteful.

    before you even go there Bob, yes, who’s to say what the benchmark of reality is? i mean it’s already black and white, so what could anyone possibly do to trump that departure from reality? to defend reality on a black and white print seems a lesson in futility.

    but whether you like it or not Bob, there are people that think that the best processing is the processing you don’t know is there; i’m in that population and i’m very aware of the processing here.

    and you can write a dozen paragraphs about this and that Bob but you can’t force me to ever find overly noticeable processing appealing. Sorry :-( … but i can assure you this hopeless condition has nothing to do with being old-fashioned, since the abuse was just as available then as it is now.
    Again Bob, I want the white hat next time! ;-)

  • hmmmm …
    I have to second Joe here …

    For THIS specifical (very beautiful indeed) photograph I think it would have done the image good to see a little more details in the burned edges and not let them go completely black over such a huge area … You do have the very detailed textures in the middle and then … on the sides … well, it is a little bit too extreme (IMHO) because it comes kind of out of nowhere.

    BUT … maybe the web is just not doing the photography a favor. I know that I have to push the kontrast on my images before I upload them, otherwise they look completly flattened out – and I am using the right color palette. It is a try&error situation and sometimes the kontrast ends up being too high (or not high enough). At the end, for the online pictures I just try to get close to what I have here in high resolution. Sometimes the results are better than in others. And I am not sure how other people on other monitors view it. So …

    By the way, sometimes I do not have the impression Pellegrin cares too much about the logic of light either when he dodges & burns … But I will take this opportunity to go back to the Magnum site and have another look … Maybe I am completely wrong here.

    Apart from my comment that really goes to this specific photograph, you have absolutely gordious things on your website, Mustafah! You do not really have to mind our variing oppinions here … :))

  • joe:

    fair enough, u can have the white hat ;)))…i never though you were a blackhat six-shooter to begin with…my contention has never been with opinion (pro or con), ’cause we all react in a peculiar way given what gets us bouncin’….and the argument about processing is a fair one, my only beef is that too often people equate PS with not legitimate and often that comes from people who havent spent a day in the dark room…a person can say: ‘ok, your technique sucks’…be it with PS or the darkroom. incidentally, my wife is a much much printer than i am, i struggle incredibly in the darkroom ’cause my negs are so dense and i try to work hard to make my prints look the way i ‘feel’ them: like drawings, memories, lots and lots of grain…in fact, when Bones gets shown here, the images (to me) will look flat (as my pics always do in a digital format) cause there is no way to feel the grain, or the richness of the blacks, in my pics but in real life, and hea, that’s cool…but, there IS NO reality in photography Joe, surely you know and understand that…and consequently, the ‘results’ of a photograph must measure up to what the photographer had hoped to accomplish (a failure, always) and not what the audience perceives as over-adjustment, poor technique, sloppy pic processing, poor Darkroom or PS skills, cultish use of ‘cute” or ‘popular’ techniques….for me its a simple thing: does the pic work for me, does it make me smile…or laugh, or stop cold and think: hmmm, what the hell’s this about….i actually react pretty simply and viscerally to photos, just as i do to words or music of damn nice food….i should confess too a black-hat obsession for “..overly noticeable processing..”…it is very appealing to me, i guess that’s the painter in me, and why im drawn to work by folk like frank (important to see his work, especially post ’60’s) in real life to see that he works with process: tape, cuting, drawing, coffee stains, cigarettes, film, all that luscious stuff or oli pin-fat, philip blenkinsop (to cite 2), or my Russian background heros from the 20’s/30’s or recently beginning with mikhailov’s opening gun shot foray’ unfinished dissertation and moving forward…

    i just get frustrated, not with opinion, but with criticism that seeks to spell out without the notion that certain things, good or bad, might be part of the photos intent….for me, i always thing of critique as a process that opens the VIEWERS eyes…and yet we invariably use it as a form to try to change/educate/criticize the photographer….

    maybe joe, we just have very, profoundly different understandings of the nature of viewing and articulating whether our reactions to imagery is about the work or ourselves….maybe i am way too white-hattish….that’s a fair and reasonable criticism….call me ishmael ;)))…

    it’s background, perspective, experience, exposure, whatever…but, i wont jump in again

    nothing personal, never is with me….it’s only photography, really…

    sorry for the incursion, its still wonderful that the Work is what creates the discussion and not personalities….that’s a testament to the strength of it to begin with :))

    ok, hope i didnt make the dozen paragraph thing ;))…been known to do that, especially when im home sick with the flu, as i am now….

    riding off to Tombstone to meet my Clanton brothers;))…

    all the best joe

  • hmmm again…

    I cannot speak for Joe here, but I in fact love a lot of what would be called “overly noticeable processing”. I was telling you that I was about to STEAL this Giacomelli book from the bookstore the other day – unfortunately the bookstore is run by a friend and so I could not get me to do that to him :))
    The point for me at least is, that the whole image has to have a balance. Wheter with “overly noticeable processing” or not. All the parts have to work together in some magic kind of harmony. Normally, if you dodge or burn or … it is to create this harmony because maybe in real life there was something not “perfect” for the image. Like with salt & pepper & spices in general with food … some like more salt than others, but … in general there is a point where salt gets too much and starts spoiling the rest.
    I have seen many beautifully balanced photographs from mustafah (also at but the very one chosen for burn is a little too unbalanced and “salty” for me. I would just have loved to taste more of the original ingredients :)

    So I thing we are on the same page. Only that you are talking about processing in general (Joe also?) and I am talking about this specific photograph …

    Even though you were answering to Joe and not to me :))

  • i enjoyed reading that Bob, Thank You.

    you threw a new word into the equation that makes me rethink things a bit: ‘intent’ that changes everything, actually.

    it’s a different judge and jury than the one i’ve let myself feel constrained to: ‘reality or visual truth’ i appreciate better where you’re coming from Bob and i’ll admit it makes sense! :-)

    i hope this wasn’t a horrible conversation for anyone to spectate, it puts a few more things in perspective at least for me. and if we’re not going to talk about this stuff here, then where?

  • Guess I kinda got in the way here :))

  • Don’t be silly Lassal, i had hoped you might have made it seem more appealing for other people to come out an play :-)

  • Shoot, Joe, couldn’t we switch to German for a while? I’d love to play a little more thoroughly :))

  • joe :))

    just so you know, im terribly long winded ;))), but i never mean anything personal..really, im a real white-hat guy (ask Lassal!)…i have to learn to SHUT UP, cause i tend to be way overly protective…it’s the oldest brother syndrome in a family of divorce ;))…anyway, for me, it’s all about intent…but, i wont jump in again…its fair and great to have this discussion and im sure Mustafah will jump in, he’s a very very intelligent guy (and good photog)…

    lassal :)))…yea, it’s always tough…those damn taste buds….u got that right :))…but i say, steal the giacomelli and then give ur friend a print ;))))….by the way, i’ve had the incredibly pleasure to see a real giacomelli print…god damn was it fucking amazing…11×14, that’s all, and the most sublime pic in the world…(remember we were chatting big vs. small)…ok, running…got some scanning to do before the day is out…

    see u both soon :))


  • BOB …
    you now gave me THE argument for a big print … the INTEND!
    For this one project … it feels so necessary. Remember?
    Invisible …

    Another time …

    Now cure that flu so that you are all there for us when Bones goes online!

    Love you Bob,

  • Speaking of intent, hopefully we can get Mustafa to weigh in again.

    The story is set up as documentary on the site (and I can tell he is somewhat trained in PJ judging by the caption writing on some of his singles). He mentions he “was more concerned with capturing this moment of complete solitude” than anything else. Not mood, not feeling…. but moment. I think the processing does create the mood, the feeling, but I lose the moment, it feels constructed.

    What does intent matter though? A large majority of the responses here indicate that the mood and feeling come through, even if it was a Moment that the photographer intended to catch.

  • Mustafah, this photo has it all–dramatic lighting, a sense of grandeur, touches of humanity in the expression on Sebastian’s face, and intriguing hints of the untold stories of these cowboys who ride the rough mountains, plains and plateaux of Patagonia. I am now going to explore the essay on your website. I can’t wait!

    Hope to see much MUCH more of your work here on Burn.


  • I find most of my inspiration comes from music and painting, as well as from different areas of photography. The work from South America was born from my fascination with Eugène Delacroix and how his work used such brights and darks, in pivotal moments, to create a focused sensation of epic character. This tapped into how I seek to photograph: propel the nature of the subject into a realm where they exist as something we can relate, admire while retaining the factual basis of the story being documented.

    I’m drawn to high contrasts, deep and rich tonal ranges, and so this comes through most prominently in this photograph, where haste did not allow me to create an image with a wider latitude. What I take from the critique here, and in other forums, is that a balance must be maintained that is so consistent and prominent in one’s work that the very notion of criticizing for dark edges becomes secondary to the power of the photograph. This is what I am striving for.

    I believe Bob said it best one: we’re all ’emerging’ and on that note, I take all words into consideration and weigh them against my own desires, my own vision and ultimately, my own work. By doing this, I think I can continue to drive myself to be the best I can possibly be.

    Thank you to everyone who took the time to discuss my photograph. I am truly humbled.

  • L :)))…i havent forgotten…i meant that bigger isnt always better (look at giacomelli’s magic)…but in the case of ‘invisible’ it absolutely will be….big big…OR small small (remember, i sad small-small:postcards size) too :))

    crawing to bed…


  • ps. Mustafah:

    man, you gotta get this image (or any from the series) sold to a publisher for the next Roberto Bolaño book…maybe the next collection of Stort Stories that gets dipped into English….im mean, i think this series is right out of Bolaño’s world :))))….ok, gotta run now, bed and medicine and a book are calling…


  • Very impressive; you`ve got an eye, no doubt. Your book looks cool too! Good luck on your journey, and take care!

  • Nice image. Note that when a gaucho crosses the border into Chile, they become a ‘huaso.’

  • Hey Mustapha–fanstastic image. I don’t think it is over-processed necessarily (I’m all about processing), but I do think that the local contrast setting (or possibly the “clarity” setting) is too high. If you widen the radius of that setting and take the intensity down a little bit, I think the photo will look more natural. Alternatively you can put a light Gaussian blur layer over the whole thing to even out the jagged look of the local contrast. I think if you did so you would invite fewer comments about your “processing”. Angelo used plenty of dodging, burning, and vignetting in his essay and it didn’t inspire a lot of commentary, because it looked natural. The setting you have it on now is just too extreme and detracts, I think, from the overall intensity of the photo. But my philosophy with processing is to take it over the edge and then back it down a notch, so all you have to do is back it down a notch and it will be a killer photo…Otherwise, mood, gesture, composition, are very strong…

  • Chris, I enjoyed looking at your “Surf/Life.”

    I don’t know what a Gaussian blur layer is, or what you mean by the clarity setting? Is this something in Photoshop?

    And my name is spelled “Mustafah”, thanks.

  • AKAKY: Huasos.

    AKAKY IRL: Come again?

    AKAKY: Huasos. Chilean cowboys are called huasos, not gauchos.

    AKAKY IRL: If you say so. Why are you telling me this like I give a rat’s ass one way or the other what Chilean cowboys are called?

    AKAKY: Because Mustafah is calling them gauchos and they’re not gauchos, they’re huasos.

    AKAKY IRL: [Pause]

    AKAKY: [Pause}

    AKAKy IRL: [Pause]

    AKAKY: [Pause]

    AKAKY IRL: [Pause.]

    AKAKY: Those are some pretty pregnant pauses.

    AKAKY IRL: It’s what happens if you don’t use a rubber. In any case, I hesitate to point this out to you, dude, but pedanticism is one of your least attractive qualities. No one cares what Chilean cowboys are called.

    AKAKY: But it’s just as easy to get these things right as it is to get them wrong.

    AKAKY IRL: Guy, listen to me: NO…ONE…GIVES…A…SHIT…WHAT,,,YOU…CALL THEM! So knock it off and leave the man alone.

    AKAKY: Okay, I guess you’re right. It’s a great picture, though.

    AKAKY IRL: No argument there, guy; it’s a great picture, no two ways about it.

  • Hey Mustafah–sorry about the spelling, typing too late at night. Local contrast and “clarity” are both basically sharpening functions. If you haven’t used them on this image, then maybe what I am seeing is over-sharpening. I don’t want to tell you something you may already know, but for the benefit of anyone else out there who wants to know how “sharpening” works in Photoshop, it’s like this: The computer basically amplifies contrast between two edges by making the lighter side lighter and the darker side darker. Depending on the “radius” of this effect, you can get either a very fine edge, or a wider edge that gives the illusion of greater overall contrast and gives the image some “Pop”…but, if it’s overdone, it gives the photo a strange, almost embossed look. The quickest solution would be just to dial down the sharpening, although you would lose a bit of the pop that way. A slightly more complex solution would be to dial down the intensity and widen the radius of the effect…

  • beautiful work on your site by the way. I love the one with the guitarist and the cigarette smoker. fantastic light.

  • Mustafah,

    really great essay. I lived 3 childhood years in Tierra del Fuego… i keep in mind exactly the same image of the man sitting and drinking after tough work and solitude… the sprite bottle and the wine ‘bota’ behind. Terrific.

    Huasos are ‘cowboys’ from central part of chile. In patagonia they are supossed to be called ‘ovejeros’ intending to make the difference with argentina, but since they look and wear the same are mostly called gauchos, like in southern Brazil as well… Mount saddle on horses is the argentinian way too-different from huasos.

    cheers, eduardo

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