PATHE PROFESSIONAL 35MM
Pathe Freres, Paris, France
1914 - 1915 (estimated)
THE
CAMERA
Equipped with its original crank, an E. Krauss Paris
Tessar-Zeiss F3.5 50mm Bte lens No. 87724 and a C.P. Goerz American Optical Company,
New York mask box, this Pathe Professional Model 35mm motion picture camera,
Serial No. 1166, was probably manufactured no later than 1914-1915.
Introduced by at least 1908/1909, Pathe Professional
cameras have been somewhat difficult to date as early factory records were
apparently lost. Provenance may help,
and in some cases, the known
manufacturing date of lenses they were equipped with. In this instance, the style of Pathe
tripod seen here may also help to narrow the timeline.
Dating could possibly be aided by the address shown on
the metal maker's tag affixed to camera's rear.
At least two addresses have been seen:
"14 Rue Favart" and "30 Bd. Des Italiens, Paris" (as
on the camera shown here). At first, it
appeared that 14 Rue Favart was an earlier address, and this held true for most
of the examples previously encountered.
Pathe moved to 30 Bd. Des Italiens, Paris by 1913, and this address is
reflected on their 1913 catalogue.
Subsequently, however, I also verified serial numbers higher than the
example shown here with a 14 Rue Favart tag, and Serial No. 58 which is the
earliest (or lowest) number I came across has a 30 Bd. Des Italiens, Paris
tag. These two addresses are believed to
be Pathe's offices, versus their factory locations of which there were several.
Attempting to date by serial number, the following
information suggests that the majority of Pathe Professionals having 3-digit
numbers are believed to have been manufactured prior to 1914:
No.
127 has been attributed to 1908
No.
882 (Billy Bitzer's personal camera) has been attributed to 1910
No.
961 is said to be as recent as 1917
No.
970 is estimated at 1908-1909
No.
975 is said to date before 1914
I have seen reference to movements not matching up with
their housings, but this doesn't appear to be the case in any of the examples
I've come across so far. More research is needed to clarify the address
contradiction, and I would be interested in anyone's opinion, or other
information to better explain this.
It's not known when production of the Pathe ceased, but
based on the popularity of the Bell & Howell 2709 and the Mitchell
Standard, it's doubtful the Pathe Professional was still being made beyond the
mid-1920's.
Many Pathes were modified and updated over the years, incorporating
new features that either extended the camera's technical capabilities or made
them easier to use. Other than the mask
box attachment incorporated into the front panel, this Pathe Professional
example is probably just as it came from the factory. Appearing to have no major modifications, it
retains its original leather covering, crank handle and viewfinder, but is
missing its factory hinged lens cap. The
magazine strap appears original and period correct, but it's unknown as to
whether it was factory issue.
Pathe viewfinder
The Pathe Brothers were some of the earliest cinema
pioneers to be involved in the production and distribution of films that would
eventually include the manufacture of cameras and projectors under their own
name. They purchased the rights to the
Lumiere Brothers' patents, upon which the Pathe Studio's and a few years later,
the Pathe Professional's movements are based.
The Lumiere Brothers are acknowledged as the manufacturers of the first
commercially successful motion picture camera.
By 1907, what has been referred to as the Pathe Studio camera makes its
appearance in their apparatus catalogue:
Pathe Studio model from their
October,1907 catalogue
Pathe Professional Model
from their 1913 catalogue
The Pathe Professional does not appear in Pathe's
October,1907 catalogue, probably being introduced in 1908.
At the peak of the Pathe's popularity about 1915, it was
said to have been used on more than half of all films being made worldwide.
Legendary cinematographer Gottfried Wilhelm "Billy" Bitzer, D.W.
Griffith's cameraman, used the Pathe almost exclusively, making some
thirty-seven films with Griffith. This
incredible run literally defined Bitzer's career, forever making him the most
famous Hollywood cameraman to be associated with the Pathe.
The Pathe would dominate the film industry, until the
Bell & Howell 2709 came to prominence in 1919-1920, followed by the
Mitchell Standard in the mid-to-late 1920's.
The C.P Goerz American Optical Company mask box can be
found in Burke & James' Cameras,
Photographic Apparatus and Supplies General Catalog No. 15 (catalog estimated
to date to 1915-1917). A few
surviving Pathe's have been seen with mask boxes, dissolving or other trick
exposure devices, but most are not.
Attachments such as these are quite rare.
C.P. Goerz American
Optical Company Mask Box
Like most early motion picture cameras, Pathe's were
heavily used and this example is no exception showing a considerable amount of
wear. That said, the Pathe is a rare
camera, with only about 1,700 estimated to have been built. Relatively few survive, and like other early
35mm motion picture cameras, they are not seen very often.
THE
TRIPOD
When acquired, this Pathe panoramic tripod accompanied
the Pathe Professional shown here. It's fitted with a Pathe "Plate-Forme
Verticale" (tilting head), the tripod base being marked "Pathe
Freres, Paris". Both the tilting
head and base are missing their cranks. This style of tripod base was offered
by Pathe from at least 1911-1913. Being
equipped with the tilting head may also help in dating the manufacture of the
Pathe Professional camera featured here.
The tripod's legs attach by unscrewing a retaining nut at
one end of each cylindrical leg mount, removing a shaft and washer arrangement,
then placing on the upper leg ends and reassembling it.
The earliest reference I've found for this tripod style
is in Pathe's 1911 catalogue, shown below and as mounted with the Pathe
Professional:
Pathe's
Professional Model from their 1911 catalogue
Pathe's Panoramic tripod from their 1911
catalogue
From at least 1907-1913, Pathe offered their
"Plate-Forme Panoramique", another panoramic tripod with a different
leg mount design, the mounts having an open space with opposing pins on each
end:
Pathe's Panoramic tripod base from
their October, 1907 catalogue
When the upper leg ends were compressed, they could then
be placed between the pins and released, secured therein by tension. One could assume this 1907 arrangement to be
an evolution towards a simpler and quicker system, suggesting that the tripod
shown here is an earlier version. But,
in reality, it's just the opposite.
Since the Pathe Studio is Pathe's only motion picture camera featured in
the 1907 catalogue and a tilt head was not yet offered, this setup was
sufficient for most studio work of the time.
When the Pathe Professional came out, a more robust and versatile tripod
with a tilting head was required for field work. By 1911, this newer and heavier style
panoramic tripod is shown in Pathe's catalogues mated to a Pathe Professional,
and a tilt head is now being offered as well:
Pathe
Professional and panoramic tripod base from their 1911 catalogue
Pathe's
panoramique tripod base and tilt head from their 1911
catalogue
Pathe's panoramique tripod base and tilt head from their 1911
catalogue
If in fact the tripod and the tilting head that
accompanied this Pathe were all purchased about the same time as the camera,
this might lend credence to the camera being manufactured closer to 1911 or
1912. However, the Pathe Professional's serial number suggests its manufacture
may be a few years later.
Original Pathe tripods are very rare, and this
combination is indicative of earlier motion picture tripods having a geared
tilt head, but no geared pan feature on the head itself. In this instance, the
geared pan movement is built into the tripod base, rather than the head. What is either an assembly or a serial number
of "10" is found stamped in two places on the tilting head, and no
serial number is found on the tripod base.
As professional motion picture tripods evolved, the head
would either incorporate both tilt and pan crank movements or be integral with
a base having a pan movement. More
modern heads such as the Worrall and Mitchell would continue to feature tilt
and pan crank movements, but beginning about 1930, tripods such as the Akeley
Universal Gyro utilized a single stick handle to facilitate both
movements. This style was better adapted
to facilitate high-speed action photography, as well as motion picture
photography in general.