CONTIPHO is the former establishment of Jules DEMARIA, located at 35 rue de Clichy and 113 Blvd Ney in Paris 18th arrondissement.

The Maton is one of the most unusual cameras. Beneath a fragile bakelite shell lies a relatively complex mechanism and a large prism for image correction. Indeed, this camera was designed to directly produce positive prints on reversible paper. It provided 24 exposures of 37 x 51 mm on a 38 mm wide paper strip contained in a larger-than-standard 135 metal cartridge, although Contipho also supplied negative film with a row of perforations.

The camera could be loaded in daylight, with the film winding into a bakelite cassette for transfer into a curious daylight development tank. Processing, which took about ten minutes, involved dipping this tank into a series of five bakelite tanks.

This particular model, numbered 1624, has a mechanism made of zamak, an alloy prone to recrystallizing and expanding, which could jam the mechanism and sometimes even cause the camera to burst.

The mechanism is operated by a crank, which advances the film, triggers the shutter, and moves the image counter that displays both taken and remaining shots.

The viewfinder rotates for both horizontal and vertical shots, providing clear aiming.

Article on the Maton in Photo Revue No. 18, September 15, 1930:

Chronique Photographique Commerciale et Industrielle
The editorial staff is entirely unconnected with this section, which is provided for inventors and manufacturers to timely announce or remind readers about their products.

LE MATON. — The new camera named "Maton" allows, at will and in minimal time, to produce a strip of 24 images measuring 37 x 51 millimeters, executed on direct positive paper or on negative film.
It must be acknowledged that the "Maton" offers particular resources in terms of unprecedented speed in operations that occur automatically, through the operation of a single control mechanism.
The lens is a F/4.5 open anastigmat; it is complemented by a shutter for both timed and instantaneous exposures.
The body of the camera is molded from a deformable material, presenting high resistance to shock and wear: A reversible viewfinder allows operation in either portrait or landscape orientation. Nuts are provided for mounting the camera on any tripod, as one can take photos as desired, as circumstances require. The changing of sensitive paper reels takes place in daylight with the help of a specific charger. A double-reading dial automatically records the exposures made and indicates the number of remaining sensitive surfaces available.
After setting the focus distance and aperture, the operator needs only to turn the crank to simultaneously release the shutter, replace the sensitive surface, advance the counter, and, finally, reset the shutter for subsequent operations.
We must return to the possibility of executing a number of images of a moving subject or person in a very short time, which results in series similar to those of motion picture strips.
This observation leads us to mention that the "Maton" can also be used with sensitive cinema film; it therefore offers the possibility of executing, by usual methods, negative strips whose positive images can be printed directly or by enlargement.

The "Maton" is entirely manufactured in France, and is offered for sale by the "Contipho" Society in Paris.

Below, in the lateral view with the cover open, we can see the brass mechanism and the large prism that redirects the image towards the back of the camera. The film travels from left to right, from the round metal cartridge to the square bakelite cassette, driven by two rubber rollers. In the upper right corner, the view counter drum is visible.

The Société Continentale de Photographie (Contipho) company was partly composed of the former Jules Demaria establishments. On February 13, 1933, during a meeting of the chamber of manufacturers and dealers in photography, Mr. Jules Demaria, President of the Chamber, informed his colleagues in writing that, as his contract had expired, he was ending his collaboration with the Société Contipho.

In September 1931, the magazine "Lectures pour tous," published by Edi-Monde, paid a visit to the Contipho Establishments. Today, one would call it a sponsored report:

THE CONTIPHO ESTABLISHMENTS: CAPITAL OF PHOTOGRAPHY

I had often been recommended to visit the Contipho Establishments at 113 bis, Boulevard Ney, as it was both a permanent exhibition of photography, phonographs, and radios and a model of organization.

Upon arrival, the wide boulevard, impressive facade, cleanliness, and welcoming reception by an usher who, however, did not let you pass without being authorized by the person you wanted to see. I was led directly to the third floor, to the office of the general manager, Mr. Smoliak, a young and energetic man with a sharp gaze behind his horn-rimmed glasses. I explained the purpose of my visit, which was to see the Contipho establishment in detail and, at the same time, to learn the director's opinion on the future of the photographic trade.
The tour, conducted by Mr. Smoliak, was extremely brief but very interesting. Afterward, he left me in the hands of his key collaborators, all young, if not in age, at least in their enthusiasm. What struck me most about the company was the light, air, and atmosphere of cordiality in which everyone worked, as well as the order that prevailed down to the smallest details. Everywhere, one could see thoughtful and well-planned organization, making the most of each space while still leaving enough room to carry out work seriously.
On the fifth floor, there was the accounting department. On the fourth floor, there was an exhibition hall that allowed both amateurs and professionals to find and try out everything they might need in photography, phonographs, cinema, radio, etc. You could see equipment and supplies from various brands, both French and foreign. In short, you were in the middle of a photography museum, under the supervision of the most qualified person for the job, Mr. Jules Demaria, a knight of the Legion of Honor, and multiple-time president of the French photographic trade unions. His memory lives on, and no customer, no matter how unimportant, is forgotten.
I was then explained the commercial program being envisaged, which, from my point of view, is entirely innovative in France and certainly in many other countries. I congratulated my interlocutor, regretting that I couldn't stay longer.
On the third floor, there was the boardroom, the office of the general manager, administrative services (minimized), advertising services, and the installation of silent and sound systems for cinema halls.
On the second floor, I entered the domain of Mr. Gilbert René, one of our best photographers, who had set up absolutely modern studios in terms of functionality and tremendous efficiency. Each day, they averaged 1,000 portraits, developed several thousand amateur rolls, and printed several thousand advertising photographs. All this was done in the most airy and cordial atmosphere. On the same floor was the retouching workshop, where numerous talented artists worked tirelessly.
On the first floor, well-organized supply stores allowed for the prompt provision of customers' needs.
Finally, on the ground floor, there were workshops for the manufacture of electric or portable phonographs, the mechanics' workshops for the "Maton," the latest marvel from the company. The small "Maton" camera could take photographs directly on paper without the use of negatives or film, resulting in considerable savings for amateurs.

How can one describe in detail such an extensive organization? But I have been assured that our readers can visit this establishment whenever and however they want. We can only encourage such an organization, the expansion of which will benefit everyone.
Those interested in any of the three branches operated by Contipho or just in the rational and modern organization should visit these establishments. The most courteous reception awaits them, I am sure.

My congratulations to the wise leaders and active collaborators of Contipho. R. J.