In this establishment there were two parts, a counter for the general public and a workshop, darkroom and gallery which was attached to the family house.
There she was trained artistically and started to discover Argentine cultural life in addition to more international views.
He was one of the founders of the Sociedad de Fotógrafos Profesionales Establecidos, and he had participated in the first cooperative group of professional photographers.
In March 1960, D’Amico travelled to the United States, where she attended a course of colour photography held by Kodak in Rochester, New York.
As Sara Facio wrote “No madrugar y no almorzar, dos principios para mantenerse “en forma”” (Not getting up early and not stopping for lunch, two principles to “stay in shape”).
They took portraits, but in an artistic way and also worked for the advertising world, and their shots (took without any previous sketch) were for national and international newspapers.
[3] Since then, they started to publish works made by Latin-American authors, to increase their distribution and recognition among society.
The Consejo Argentino de Fotografía (CAF) was created in 1979 and Alicia D’Amico was part of the founding members.
Inside the council, D’Amico along to Sara Facio were responsible for the circulation and distribution of the Works among press and society.
Inside the CAF, they had some objectives such as focus on the distribution of Argentine photographers' works and in the historical research.
[8] In 1969 Alicia D’Amico had participated in the foundation of the Unión Feminista Argentina (UFA) accompanied by other intellectual women like María Luisa Bemberg, Leonor Calvera, Marta Migueles or Hilda Rais.
This series of activities made easier the gathering of the previous feminist groups and they were able to continue their work.
Coinciding with the celebration of this feminist activities, Alicia D’Amico started a project that lasted until the date of her death in 2001, her series of works Creación de la propia imagen.
This concept started in the First Argentine Congress La mujer en el Mundo de Hoy, where the Argentine photographer took photos of the women that attended the congress, and she let them pose however they wanted to, the importance of the photo was to capture the essence, the sensibility of each person.
In this place they held different cultural activities, study groups, information chats and awareness sessions.
Later, she worked with another psychologist, Liliana Mizrahi, in a project which was between photography and performance, called Pies desnudos (1985).
[13] In the 1990 decade, she developed this topic with a personal and inevitably political vision, by making another workshops, as the one made in Las lunas y las otras in 1994, called Dar el cuerpo o dar la cara, which one was repeated one years later in IV Encuentro de Lesbianas Feministas de América Latina y el Caribe, in Mar de Plata.
[14] Due to her training in the Escuela de Bellas Artes, D’Amico always create very clear and equilibrated compositions.
In spite of the fact that some of her first photographs, which were taken for the Foto Club competitions, consisted on very academic compositions, Alicia D’Amico always broke the rules and used her own vision.
[...] I saw "the photo" for the first time in the works of Edward Stieglitz, in the Spanish Village of Eugene Smith, and in every shot of Cartier-Bresson.
I know that, since the start, my photographs had a rigour of composition that could remember to other masters, but i formed my competitive basis in my time in the National Academy of Fine Arts.
The portraits which were presented in that book were simply expressive, D’Amico and Facio looked for the form of capture the pathology of the characters by using cut shots and very strong close-ups.