Recently, in my search for an 11x14 studio camera, I stumbled upon an old Deardorff V11 folding field camera in pretty bad shape. I didn’t buy it at first because it wasn’t exactly what I had in mind, which was a studio camera. There was also its condition: I wasn’t really looking for a project. The bellows was shot, wood was chewed up, scratches everywhere, dented side rails… you get the picture.

Weeks went by, but the camera stayed on my mind. I knew that V11s rarely surfaced, and wondered if it was salvageable. After a month I went back and bought it, along with a 16-½" f/7.7 Dagor lens (not pictured). What the hey, at the agreed price it was a deal I couldn’t refuse. 

Here’s a big posting of photos depicting the Deardorff V11 as it looked after and before the restoration. The pictures are not in any particular order, so you’ll see varying sets of pre and post restoration images below. Yes, this *is* the same camera in all of the pix. When you get to the “before” shots you will see how remarkable a change it really is.

I enlisted the help of Barry Cochran, who took over the Deardorff name and holdings a few years back. I knew that he had lots of original parts on hand, and that would be useful for this project. The camera was completely disassembled, and all wood parts were stripped, sanded, stained, and varnished. Cochran was able to match the original finish very well. The varnish is neither too thin or too thick. Every piece of hardware was polished and buffed. The worst parts of the camera were replaced with “new” old-stock original Deardorff parts whenever available. They consisted of the rear frame (the original wood was just too chopped up to restore), handle (not original Deardorff. It’s a new design and, in my opinion, superior to the original in both strength and comfort), the bellows (from Custom Bellows in the UK, which Cochran had on hand), and the bottom left rear extension guide (the plated strip that the knobs go into on the bed).  Oh, lots of the small screws are new, too, as that was a better option than polishing each tiny screw head manually. 

Besides the camera (with the standard 11x14 back), I sent Barry an 8x10 reducing back that fit the V11. The back, most likely an Ansco or Burke and James accessory for the Dearforff, was a cosmetic mess. What Cochran did with it was particularly impressive. Find the original in the pix below. It was painted gray, and had gold spray sloppily painted on the hardware and frame. It now looks like a new Deardorff piece. Nice.

With respect to the time frame, the entire project was just about a month, from  my shipping it out to receiving it back. It was supposed to be a few weeks (which, frankly, I thought seemed head-spinningly fast), and I started to get a bit nervous because of the delay. Some members of the Large Format Photography group (http://www.largeformatphotography.info) were expressing particularly strong criticism of Cochran, and the rhetoric did feed my anxiety. There were complaints of communication problems and lengthy wait times, and this I cannot defend. I also had trouble getting answers to emails and experienced missed completion dates as well.

In Cochran’s defense, however, I *can* say that when email responses finally did arrive they were incredibly rich in detail, and offered information well beyond what was initially asked. He was also aware of my concern about getting the camera back in time for a job I wanted to use it for, and he returned the finished camera via FedEx at *his* expense ($330). I thought that this was incredibly generous, so much so that I decided to split it with him. He also sent the camera back to me with two extra ground glass pieces (11x14 *and* 8x10) because he felt the ones he had were cleaner than mine. That was well above and beyond expectations. Furthermore, he sent the camera back to me *before* collecting the second half of the restoration payment. “Pay me whenever you get a chance,” he said. Really? Wow.

Barry’s folksy, laid back, manner takes a bit of getting used to in this high speed internet age. His sense of business is not very, um, business-y.  I doubt he checks his email every quarter hour like many of us. I don’t think he has a Blackberry. He’s seems more Mayberry.  His tendency to underestimate or miss completion dates is unnerving. By answering emails more frequently and offering realistic timeframes on jobs, these issues could be easily remedied. Will they? Who knows. Cochran may be a little, shall we say, quirky, but, for me, he really did come through.

There were a few niggles, things that I would have preferred done on his end. Not major things, really, and I was able to smooth things out on this side with Barry’s much detailed emails and lengthy telephone conversations. I filed back a bit of the extension guide, I scraped the inner lensboard frame of the front standard (boards didn’t sit far back enough after the standard was sanded and lacquered: too hard to slide the lensboard lock into place.) Boards now sit fine. I lubed the gear rails with white lithium grease etc. And, although these items could have been done by Cochran, I am of the belief that these minor touches were glossed over because of my insistence of getting the camera back in time for a job. He simply wanted to get the camera back to me quickly. 

Would I deal with Barry Cochran of LH Deardorff and Sons again? Yes, I think I would, given that I now, more clearly, understand how he works. I would not necessarily take too seriously any promises of completion dates, though. But I do not doubt, however, that the job will be completed, and that it will be a real looker. Plus, I have an affinity for quirky people.

I love the camera. As you can see, it’s stunning. It’s hard to walk by it without stopping to appreciate its warmth and beauty, turn the silky focusing knobs. I’m really happy I decided to go back for it. Barry did a great job. Enjoy the pix. The shots on the Saltzman stand I took. The ones against the black cloth Barry took. That was another cool thing he did…

- Dustyman