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Thread: Rebuilding a Deardorff 11x14 Studio Stand

  1. #81
    Tin Can's Avatar
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    Re: Rebuilding a Deardorff 11x14 Studio Stand

    You mean this, Boeshield T-9 Aerosol Can

    as designed by Boeing...

    If it dries "dry" perhaps it doesn't attract dust and hair?
    sin eater

  2. #82
    Peter De Smidt's Avatar
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    Re: Rebuilding a Deardorff 11x14 Studio Stand

    Yeah, it dries "dry'. It's what I use on my cast iron tools to keep them from rusting.
    “You often feel tired, not because you've done too much, but because you've done too little of what sparks a light in you.”
    ― Alexander Den Heijer, Nothing you don't already know

  3. #83
    Tin Can's Avatar
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    Re: Rebuilding a Deardorff 11x14 Studio Stand

    Cool!

    I will buy some

    I am out of Maxi Coat Heavy Duty thick Film which was very heavy, made for all weather iron protection. It was too thick, too gooey, too waxy. I see Loctite kept the name after we sold all chems to them.
    sin eater

  4. #84
    Peter De Smidt's Avatar
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    Re: Rebuilding a Deardorff 11x14 Studio Stand

    Update: cutting cables with a cold chisel works great. I used a hard rubber mallet and eye protection. The fittings I mentioned earlier work fine. To attach to the lead weight hooks, I did have to buy two cheap steel loops. I much prefer cable fittings that get tightened by turning nuts than by pounding in a wedge. The stand is upright with the carriage installed. Hopefully, all that needs to be done for full functionality is to shorten the chains.

    How tight should the chains be?
    Last edited by Peter De Smidt; 29-Nov-2019 at 15:16.
    “You often feel tired, not because you've done too much, but because you've done too little of what sparks a light in you.”
    ― Alexander Den Heijer, Nothing you don't already know

  5. #85

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    Re: Rebuilding a Deardorff 11x14 Studio Stand

    Can't help you with the rubber ring question, but I have a word of warning.

    Barry Cochran restored the stand that I have, and delivered it (Tennessee to California!) in a rented pickup truck. A nice job, overall, with two exceptions: he painted the posts and replaced the counterweight cables.

    The posts had been had been pretty rusty, and what I suspect is a couple of coats of spray-can enamel sticks to the carriage if it has been sitting for a while. If it weren't so hard to get apart, I would strip the paint, probably apply phosphoric acid rust connverter, and then just wax them. Frictional stick/slip is annoying and probably not good for the camera, but I've been using it that way for more than seven years so it clearly isn't critical.

    More seriously, he left in the original quarter-inch lag eyes for the cable weights. Lead is soft, and the screws were threaded in about an inch; when we stood the stand up in the back of the pickup (carriage at the bottom, because that was the way he had loaded it) one of the weights parted company with its cable, exited the open column at the bottom, and put a two-inch deep dent in the bed of the truck. It was clear that someone had previously had trouble with the attachment, because there were at least two different colors of what looked like epoxy around the lag eye shank. I know that there are a lot of variations among these stands, but on mine I could see no indication that there had ever been any other form of cable attachment.

    Thinking about what could happen If I were using the stand with the camera inverted and at the bottom (something I actually do, by the way) I replaced both lag eyes with brass threaded inserts and 3/8-16 eyebolts. The OD of the threaded inserts is about half an inch, and I screwed them in below flush, so I think I'm safe now.

  6. #86
    Tin Can's Avatar
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    Re: Rebuilding a Deardorff 11x14 Studio Stand

    Good points Harold, I have been worried about lag screws and lead weights from the beginning. I think I have had mine 6 years.

    The stand base is very close to floor on either side, getting a toe under the lead weight drop zone is difficult with shoes on.

    I think we have 3 safeties, 1920's tech.

    One is the worm drive lift that runs the chains, if the cable or lag screw fails that should hold the day. Good bicycle chain, I put on new recently, can carry 2000 lbs each side. But I also think the next weak link is the sand cast aluminum post cap which has the cable pulley and tabs for the chains. Not an impressive casting. Easy to replace with 1/4"steel plate.

    Two is the cable and lead weight are double like the chains. 1/2 the load. If one lag screw fails the other will slow down damage...

    Three, the the two hand locks that clamp platform to column. If used!

    I also have used mine upside down and close to the floor. Lead weights are at top! Imagine the 20' post some of the SC11 came with. My posts are now 8' which allows the camera top to touch my 10 ceiling.'



    1940's Saltzman also use lead weights inside the column(s) but they used chain through donut holes in the lead weight. Foolproof. Saltzman chrome plated their posts and eliminated stiction with 8 roller bearings guiding the way.

    1950's Arkay monopole studio stands are a lesser design, the camera arm is brittle aluminum, I broke one. The lead weight is not enough for heavy cameras. And the cast iron tripod wheelset can tip right over if camera load is not distributed carefully. Also learned by experience.

    1970's the Fotar 10X10 enlarger, a larger emulation of DeVere enlarger used massive cast iron weights, 2 wire cable capstans with no safeties in the early model I had. Later did have locks.

    Absolutely the most dangerous photographic contraption I discuss here. If not set up correctly or if a cable fails, somebody is going to be hurt bad. Very difficult to set up, but the best enlarger i ever had.

    I used a MTS 100K Load frame for years breaking things, from Teflon tape to large bolts and simulate steel fatigue inside running engines.
    sin eater

  7. #87

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    Re: Rebuilding a Deardorff 11x14 Studio Stand

    I bought this today, building goes way back, somehow miraculously this fellows negatives are at our local history center. The camera has a 8x10 revolving back, but I suspect it's an 11x14 camera. The lens is a pretty well toast Turner Reich the rear cell is 21". This was in a studio, someone has trimmed the posts as it's about 7'6" overall. The 4th bellow is there, looks like the bellows have been replaced 30 - 40 years ago.
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  8. #88
    Peter De Smidt's Avatar
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    Re: Rebuilding a Deardorff 11x14 Studio Stand

    That's great. Congratulations! It's a very fine camera system.
    “You often feel tired, not because you've done too much, but because you've done too little of what sparks a light in you.”
    ― Alexander Den Heijer, Nothing you don't already know

  9. #89

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    Re: Rebuilding a Deardorff 11x14 Studio Stand

    I have a nice old V8, I heard about this, almost didn't call. I got interested when I saw the overall height of the stand was under 8 feet, and the camera is in much better shape than I suspected.
    I have a buddy that got some darkroom junk from this place 35 years back, this is the last piece to go. Crazy

  10. #90
    Tin Can's Avatar
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    Re: Rebuilding a Deardorff 11x14 Studio Stand

    Very cool!
    sin eater

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