Since 1920, when there was no interest in our photographic heritage from the cultural institutions of the place, Constantine Tridos had prophetically perceived the documentary meaning of the photographic images and had been persuaded and devoted to their search.
Based on information from the illustrated themes, he collected visual material ranging from the mid-19th century to 1955, coming from known or anonymous photographers, subtle or mediocre lens operators. In his harvest, the early photographic samples of professional photographers follow the first amateur shoots at the beginning of the 20th century, followed by the photojournalism of the Interwar period and the post-war years, as well as his own shootings, in order to fully cover the thematic units that he had documented. When classifying the collection, it combined the photographic material with letter cards or printed reproductions of photographic images, often incorporating articles of newspapers or magazines besides the visual material, as well as its own notes, so that the written reason would complement the information that was obtained From reading the pictures.
The fruit of this long-lasting activity was the creation of the "Neohellenic Historical Collection of Constantine Tripos", a valuable treasure from where unique information is drawn both on the history and the physiognomy of the place, as well as on the history of Greek photography.
In 2005, the daughter of collector Kleio Tripou-Bostantzoglou took the brave decision to trust her father's collection in the Photographic Archives of the Benaki Museum.
