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Eduardo Comesaña was born in Buenos Aires, Argentina on March 14, 1940 and earned a Licenciate in Cinematography at La Plata University (School of Fine Arts). Between 1964 and 1977 he worked as a staff photojournalist at leading Argentine publications like Primera Plana, Confirmado, Panorama y Siete Días Ilustrados.

He is a member of the following professional organizations: ARGRA (Asociación de Reporteros Gráficos de la República Argentina) since 1967 and ASMP (American Society of Media Photographers, U.S.A.) as a non-resident member since 1970.


  • ADEPA-F.A.RIZZUTO Special Mention, Buenos Aires, 1969,
  • ADEPA-F.A.RIZZUTO First Prize, Buenos Aires, 1969
  • S.I.P.- MERGENTHALER (Sociedad Interamericana de Prensa), Miami,Florida, 1972

As a result of his 40-years experience as a photojournalist, Comesaña offers his full black and white file of personalities (Argentine as well as international) in the arts, science, politics, etc. in inkjet photographic paper as well as in digital format.

Eduardo Comesaña has a personal file about the following subjects.
Click here to view the file


When I started working as a photo-journalist for "Primera Plana" (a famous Argentine newsmagazine) in 1964, the idea of interior photography, available light (or available darkness, according to some jokes) and small format was comparatively new. Staff photographers working for newspapers used 6x6 Rolleiflex cameras or the traditional 4x5 Speed Graphics. The same happened in magazine publishing houses.

Among my predecessors I recall the mythical Francisco (Paco) Vera, a Spanish national who emigrated to Argentina after the Civil War. He became one of the first Leica enthusiasts, together with the slightly aristocratic and always elegant Jorge Aguirre, as well as the studio led by talented women-photographers Sara Facio and Alicia D¨Amico. To take advantage of high speed lenses, fast films (400 ASA) were used with low shutter speeds (1/30 or 1/60 of a second) and f/2 or f/2,8 apertures.

What I most appreciated in Leica cameras was its ubiquity, small size, silent shutter and the possibility to work with low shutter speeds without the risk of blurred images. In this sense when around 1970 I became aware of Erich Salomon´s work I felt an enormous revelation. It is doubtless that in 1928 he was one of the creators of what he himself called "photojournalism". If he would have a chance to emigrate to the USA during the Nazi years as, for example, did Alfred Eisenstaedt (one of the first LIFE photographers), his career would have had a different outcome. Nevertheless the visual coverage he left us of the inter-war years (1928-1938) became an invaluable document in the history of photojournalism. This is the reason I want to render him a homage in my website. I hope you enjoy it.

Eduardo Comesaña

Click here to view the homage

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