I’ve been on the Japanese auction sites again. Naturally, that means another wooden camera has found its way into the workshop.
This time, around $200 AUD bought me a 4×5 field camera with worn metalwork, missing focusing parts and what looks like a promising set of bellows. Shipping is another expense, of course. The camera itself was the tempting bit.
After the Tachihara 8×10 restoration, I wanted another project that would need a proper strip-down. This little camera looks ready to oblige.
Welcome to Part 1 of the Nagaoka 4×5 restoration series: a first look at what I’ve bought, what needs attention, and what I hope to save.
First, what exactly have I bought?
I believe this is a Nagaoka, although I still need to do some more research before I’m completely confident about its identity. There are similarities to the Tachihara cameras I already use, and I’m curious about whether there is a connection.
The focusing screen adds another wrinkle: it carries the Toyo name. That may simply mean the original screen was replaced at some point. It is a clue, rather than a definitive answer about who made the camera.
If you recognise this model, I’d love to hear from you. One of the enjoyable parts of working with old cameras is discovering the history that comes with them—even when they arrive without much of an introduction.
Better than the auction photos suggested
The listing photographs made this camera look fairly rough. With it on the bench, the picture is a little more encouraging.
The bellows look surprisingly good on this first inspection. That doesn’t prove they are light-tight, but it gives me a reason to try to preserve them. During the 8×10 restoration I managed to damage the bellows while removing them and ended up buying replacements. I’d rather avoid a repeat performance.
The woodwork has scratches and a few issues to investigate, including a loose piece inside. There is plenty to do, but I can already see the potential underneath the wear.
The repair list is taking shape
The metalwork is noticeably pitted. I’ll start by cleaning and polishing it, then see what can be recovered. Some parts may need electroplating, but I’ll make that decision once I can inspect them properly.
The focusing mechanism needs more than a polish. There is a knob on one side and an absence where the other one ought to be. The front focusing gears also appear to be missing, so a replacement rod and gears may be on the list.
There also seems to be a missing locking component towards the back. Those are exactly the sorts of details that become clearer when the camera comes apart and every piece can be checked individually.
Having already tackled focusing-rail repairs on the Tachihara 8×10, I suspect some familiar tools will be coming out again. Possibly the blowtorch. We’ll see how adventurous this one gets.
Next comes the strip-down
The next step is to dismantle the camera, inspect the parts and work through the repairs. I want to refinish the wood, recover as much of the original hardware as I can, and give the focusing mechanism the attention it needs.
That starts with taking out a remarkable number of small screws and putting them somewhere sensible.
Preferably somewhere I’ll remember.
This episode is the introduction, rather than the finished restoration. There are still questions to answer before this camera is ready to make photographs again, but that is part of the appeal. It is another chance to bring an old large-format camera back into use—and, eventually, explore what it can do for wet plate photography.
Follow the restoration
I’ll be sharing the work as the series develops, including the repairs, the discoveries and any workshop decisions that turn out to be more optimistic than sensible.
Follow TinTypeMan on YouTube for the restoration videos and more wetplate photography projects. You can also revisit the Tachihara 8×10 restoration from Part 1.
Do you recognise this camera? Or have you restored a similar wooden 4×5? Let me know in the comments—especially if you can help solve the identity question.