Constantine Manos, photographer for landmark ‘Where’s Boston?’ exhibit, dies at 90 – The Boston Globe

Among Mr. Manos’s books were “A Greek Portfolio” (1972; updated 1999), “Bostonians” (1975), “American Color” 1995) and ”American Color 2″ (2010). Mr. Manos’s work with color was notably expressive and influential.

“Color was a four-letter word in art photography,” the photographer Lou Jones, who worked with Mr. Manos on “Where’s Boston?,” said in a telephone interview. “But he was making wonderful, complex photographs with color, and that meant so much.”

Yet for all his formal skill, Mr. Manos always emphasized the human element in his work. “I am a people photographer and have always been interested in people,” he once said.

That interest extended beyond the photographs he took. He was a celebrated teacher. Among the students he taught in his photo workshops was Stella Johnson.

“He’d go through a hundred of my photographs,” she said in a telephone interview, “and maybe he’d like two. ‘No, no, no, no, yes, no.’ Costa really taught me how to see. I remember him looking at one picture and saying, “You were standing in the wrong spot.’ Something like that was invaluable to me as a young photographer.

“He was a very, very kind man, very generous. But he was very strict. ‘How could you do that?’ He was adored by his students and by his friends, absolutely. We were all lucky to have been in his orbit.”

Mr. Manos, who moved to Provincetown in 2008, lived in the South End for four decades. The South Carolina native’s association with the Boston area began when the Boston Symphony Orchestra hired him as a photographer at Tanglewood. He was 19. This led to Mr. Manos’s first book, “Portrait of a Symphony” (1961; updated 2000).

Constantine Manos was born in Columbia, S.C., on Oct. 12, 1934. His parents, Dimitri and Aphrodite (Vaporiotou) Manos, were Greek immigrants. They ran a café in the city’s Black section. That experience gave Mr. Manos a sympathy for marginalized people that would stay with him throughout his life. As a student at the University of South Carolina, he wrote editorials in the school paper opposing segregation. Later, he would do extensive work chronicling the LGBTQ+ community with his camera.

Mr. Manos became interested in photography at 13, joining the school camera club and building a darkroom in his parents’ basement. After graduating from college, Mr. Manos did two years of Army service in Germany, working as a photographer for Stars and Stripes. He joined Magnum in 1963. This had special meaning for him. Mr. Manos’s chief inspiration as a young photographer had been Henri Cartier-Bresson, one of Magnum’s founders. He was such an admirer he made a point of using the same equipment that Cartier-Bresson did.

That same year, Mr. Manos entered a seafood restaurant in Rome that was around the corner from the Pantheon. Prodanou, his future husband, was dining with friends. Noticing Mr. Manos, he gestured to him. “Would you join us for coffee?” The couple spent the next 61 years together, marrying in 2011.

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Mr. Manos lived in Greece for three years, which led to “A Greek Portfolio.” He undertook a very different project in the Athens of America. Part of the city’s Bicentennial tribute, “Where’s Boston?” was a slice-of-many-lives view of contemporary Boston.

Located in a red-white-and-blue striped pavilion at the Prudential Center, it became a local sensation. The installation involved 42 computerized projectors and 3,097 color slides (most of them taken by Mr. Manos), shown on eight 10 feet by 10 feet screens. Outside the pavilion was a set of murals, consisting of 152 black-and-white photographs of Boston scenes, all shot by Mr. Manos.

“The most important thing I had to do was to keep my picture ideas simple,” he said in a 1975 Globe interview. “Viewers are treated to a veritable avalanche of color slides in exactly one hour’s time.”

In that same interview, he made an observation about his work generally. “I prefer to stay in close to my subjects. I let them see me and my camera and when they become bored they forget about me and then I get my best pictures.”

Among institutions that own Mr. Manos’s photographs are the Museum of Fine Arts; the Museum of Modern Art, New York; the Art Institute of Chicago; the High Museum of Art, Atlanta; the Library of Congress; and the Bibliothèque Nationale, Paris.

In addition to his husband, Mr. Manos leaves a sister, Irene Constantinides, of Atlanta, and a brother, Theofanis Manos, of Greenville, S.C.

A memorial service will be held later this year.

Mark Feeney can be reached at mark.feeney@globe.com.