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Contipho Box-Film |
 Version française |
Manufactured or assembled in France from 1931 to (After) 1931.
Index of rarity in France: Infrequent (among non-specialized garage sales)
Inventory number: 7022
See the complete technical specifications
Chronology of cameras Contipho
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.
The engraving depicts a camera manufactured by Natali, Collo & Co, which can be found under various brands. The text provides us with important information that this model comes in three distinct formats: 127 (Vest-Pocket), 120, and 116, although the ones found are all in 6 x 9.
Contipho is being somewhat unfaithful to its preferred manufacturer, Demaria.
Natali, Collo & Company was the name of a subcontracting manufacturer, not a commercial brand of cameras. All the production was sold under more well-known brands like Manufrance, Plavic, etc. These were distributors or players in the photography market who aimed to add affordable cameras to their catalog.
The cameras manufactured by Natali and Collo were of the Box or Detective type, as the materials used were not suitable for other forms. The wood used was lightweight and not very durable. The covering was limited to decorative paper glued to the wood, which over time tended to wrinkle. Some unusual features for the time are worth noting, such as imitation reptile skin in blue color.
The manufacturing quality was low in order to produce budget cameras. This is the primary characteristic of Natali and Collo cameras. Certain technical characteristics were consistent across the manufacturer's cameras. The shape of the shutter speed selector (P/I) resembled a racket; this design was found on several models. The film advance key was simple, often a bar passing through the axis of the winding spool. The locking mechanism for the back door of detective cameras was circular with a circular notch that allowed it to lock onto a simple nail. On other models, a metal piece with a small hole was positioned over a nail head. The shutter release button was sometimes absent and was simply the end of a rod.
While these features were not universal, these unique characteristics serve as a good basis for identifying cameras from Natali, Collo & Co.
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