Photo Equipment Restoration Product booklet

Restoring camera bellows
How to refurbish leather
Simulating antique brass
                  1i       ..
Tools and techniques
Repair of paper, vinyl, cloth
and leather coverings
Lettering and embossing repair
Making replacement parts

INTRODUCTION

lrom  the first appearance of "The Vintage View-I  finder" as a regular column in Petersen's Photo-
Graphic magazine, the author has received countless
letters that say in part, "I've just located this fabulous
old camera (lens, projector, etc.) but it's in pretty tough
shape-how can I restore it?" The subject of precision
photographic equipment restoration by amateurs at
such work is a wide and varied topic; so the editors
of PhotoGraphic decided to pool the talents of the au-
thors of Glass, Brass & Chrome and Collecting Vintage
Carneras (two of the most widely praised volumes writ-
ten on the subject of cameras and collecting) to bring
you the first practical guide to equipment restora-
tion-the only one of its kind available.
  As the hobby of collecting cameras and other photo-
graphic equipment continues to glow in popularity, the
number of choice items available to those who want
them diminishes steadily. Thus grows the desire of
many to restore their collections to as close to mint
condition as possible. The restoration of such equip-
ment can be a fascinating hobby in itself, and for those
who become adept in the tricks of the trade, it can even
be a profitable sideline.
  One warning at the outset-no one knows all the
answers to the problems of restoration. Short of a com-
plete rework by skilled craftsmen in an original manu-
facturing plant, the chances of refurbishing equipment
in such a manner that it will pass totally undetected
are not great. But this should not stop the determined
collector, as the task of making a near-jewel from an
apparent piece of junk can be a satisfying project and
can possibly increase its value as well.
 The reader should take a professional attitude
toward his self-appointed work, for while restoration of
any object is a time-consuming task, it's practiced in
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such diverse areas as the world's leading museums and
by those servicing private collections. A professional
 attitude means that there should be no attempt to
 defraud involved in a restoration. For even if it is per-
 fectly done, a restored piece of equipment is still not
new and should not be represented as anything other
than what it is-the product of a skilled individual. And
so restorations are placed in three categories:
  FOR DISPLAY ONLY-no intention of use is in-
volved; the equipment will sit on a shelf to be admired.
  FOR DEMONSTRATION-the equipment is visually
close to the original and all parts operate, but it may
or may not perform its function as originally intended.
  FOR DISPLAY AND USE-the equipment must not
only appear like new but also perform perfectly.
  You should also be aware of the following arbitrary
 labels used by many collectors as a guide in buying and
 selling equipment:
  NEW: As shipped by the manufacturer.
  MINT: 99Vo origsnal finish intact, everything  is perfect
and in new condition.
  EXCELLENT: 807o or better of original finish is intact,
used very little with no noticeable marring, brassing,
 or wear on wood and leather.
  VERY GOOD: 60Vo or better of original finish is intact,
only slight scratches, scuffing or marring apparent;
 metal may show wear but no corrosion or pit marks
 visible.
  GOOD: Minor wear is visible, metal rusting or pitting,
 leather scuffed or aged, wood parts marred, scratched
 or cracked but all restorable.
  FAIR: Well-worn and used, in need of complete resto-
 ration of appearance.
  The above classifications may be used to establish
an objective for you-a general guide as to just how
far your work will go. In addition, they can also deter-
mine just how much time, energy and money will ul-
timately go into the restoration.

Since early Leicas are collectors' items, this model has an
 intrinsic value beyond that ol a mere "used" camera. This
value has been increased by a careful restoration which
can be accomplished by any amateur.

  Since this guide was written primarily for the ama-
teur, a few words of caution are offered here. Depending
upon your objective, establish your attempts at restora-
tion within the probable limits of your ability-to do
the work or to pay to have others do some of it for
you. If you're not experienced at shutter repairs, don't
attempt to dismantle a Compur-Rapid. Unless you're
exceptionally fortunate, you'll never get it back to-
gether; even if you should do so by trial and error, the
chances are one in a million that it will work correctly.
So if you want the shutter to work, have an expert
fix it first, then carry on with the remainder of your
restoration.
  Rangefinders are another case in point. In many cam-
eras, the rangefinders do not work, but the truth of
the matter is that many of them never worked very
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well originally. Although it's possible to get inside the
camera and to the rangefinder without too much dif-
 ficulty, (1) it may not be worth your time and (2) you
probably can't do much to make it work. The mirrors
 will very likely have deteriorated to a point that only
replacements would solve the problem, and getting
these tiny mirrors cut to exactly the right size-provid-
ed that you can even find mirrors today that are front-
 silvered or transparent as many require-is a task sel-
dom worth the effort. In such cameras, even if you
intend to use them, it's best to simply ignore the
rangefinder unless you're a fanatic for perfection.
  The vast majority of optical/mechanical equipment
that people wish to restore has long been out of produc-
tion and, in most cases, the manufacturers have also
closed their doors. There are only two major sources
for parts:
   (1) International Camera Corporation in Chicago re-
mains the sole source of replacement parts for many
obsolete cameras, and their supply dwindles with every
passing year.
   (2) National Camera Repair in Englewood, Colorado,
is a second possibility.  If they have parts, they'll sell
them to you, but the supply grows smaller each year.
  The final option open to the home restorer is the
original manufacturer, who may still be in business.
Eastman Kodak is quite helpful but does not keep parts
for cameras on hand forever. The same is true of Bell
& Howell, Argus and GAF (Ansco), but due to the many
corporate changes the latter two companies have un-
dergone in recent years, the availability of spare or re-
placement parts is quite limited. Leica is a fairly good
source for their old parts. However, since many of their
cameras were virtually handmade,  it's usually best that
they perform the repairs themselves, which does not
come cheaply. Bausch & Lomb has turned over all of
its replacement parts for binoculars made prior to
World War II to an authorized repair service. The same
is often true of other manufacturers where repairs are
infrequent, or parts are scarce to the point that it's

no longer profitable for the manufacturer to warehouse
and supply them himself.
  In essence, the repair parts of most older optical
goods and photographic equipment are not in plentiful
supply and you may have to obtain a like item (if possi-
 ble) to improvise spare parts. The die-hard among you
 will often go to the trouble and cost of having a new
part machined.
   If you have a camera with a broken or missing lens
element, it's almost never worth the expense involved
in having it replaced. No camera would be increased
in value (other than sentimental) by the replacement
of an optical part. Lens scratches can be ground out,
but since the formula will change slightly in the process,
the optical quality will never again be the same. Except
for scientific purposes, the coating of lenses is seldom
really worthwhile, since the purchase of a new and al-
most certainly superior lens (or camera) will not cost
appreciably more.

    RESTORING AND
 REFURBISHING LEATHER

n    f all the materials used throughout the centuries,
\J  leather has remained one of the most useful. How-
ever, because it is a natural material, it tends to deterio-
rate, especially when combined with man-made prod-
ucts. The majority of leather found on photographic
equipment has been used in the fabrication of bellows
and coverings. (Since the restoration of bellows is some-
what of a special art in itself, it will be discussed in
another section.)
  The greatest problem of leather is that it has a ten-
dency to dry out and shrink unless it has been kept
under ideal conditions. Leather coverings are especially
prone to shrinkage. This problem is intensified if the
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leather has beeri used for a functional as well as decora-
tive item, such as a hinge, strap or handle. Almost in-
variably, these are formed while the leather is wet.
  Whenever leather is used as a covering, it is secured
to the object with some kind of glue, which produces
the second problem that you'll encounter. Since early
glues were made from animal hide, they could be con-
sidered compatible with the leather, to some degree.
But these early glues had a tendency to dry out causing
the leather covering to come loose from the base ma-
terial (which, most often, seems to have been wood or
aluminum). Early Kodak folding cameras are a good
example of this, particularly  if they have been subjected
to a high degree of moisture or humidity for long
periods of time. As their aluminum bodies gradually
oxidize, the leather covering simply falls off when the
camera is picked up. In some models (usually those
manufactured in the mid-'3O's), the effect of the leather
tanning chemicals on the brass rivets in the base has
resulted in little raised spots along the covering. You'll
notice this problem easily because these spots are often
covered with a green substance resembling mold.
   If the equipment is to be restored to its original con-
dition, there are three practical options open to the
restorer. He can (1) attempt to restore the leather
that's on the body (2) replace it with an exact dupli-
cate or (3) try to reproduce the original as closely as
possible using new material.

RECEMENTING/If the original leather has only faded
or come loose, it's a relatively simple task to restore
it on some items. First, the problem of looseness: De-
pending upon the kind of equipment involved, a number
of glues work quite well. Pliobond, a reclaimed rubber-
based product, became a favorite with repairmen short-
ly after its introduction. Although useful for many pur-
poses, it contains a highly volatile solvent that's not
especially good for the leather and it's difficult to clean
up once it has dried.

Two other glues seem to be more popular: contact
cements and white glue, of which several formulas
are available. The contact cements are fast and certain,
sometimes too much so, because the placement of the
pieces to be glued has to be almost perfect when they
are joined. For a moment or two after contact, you can
make some correction, providing it's not too great. For
this reason, many prefer the white glues since they
allow more leeway in application and, unlike contact
cements, they ofrer easier cleanup. But this slower dry-
ing quality can also prove to be a disadvantage in some
situations. And they do not resist moisture as does con-
tact cement. Since white glues will not stick to all sur-
faces (especially nonporous ones, such as polished
metal), a test is recommended before covering the entire
surface on which you're working.
  To make a perfect bond between body and covering,
apply the glue with a brush in a thin, continuous layer
to one surface of the two to be joined. Let it thicken
to a slightly tacky condition; then apply sufficient pres-
sure to squeeze out excess glue while making an even
contact over the entire area. Keep the pressure con-
stant until the glue set is strong enough to hold the
covering and body from separating.
   It may be helpful to wet the leather slightly to restick
a covering, but keep it stretched while the glue dries'
Avoid over-wetting since this may cause the leather to
shrink excessively as it dries. some leather affiicted with
old age may even fall apart completely because of the
       moisture. In some cases the covering can be re-
"ra"ttmoved and wet, then stretched slightly oversize' After
replacement, the oversize is trimmed and gives good
results.
  Once the covering has been stuck down, it helps to
use some form of clamp; spring-type clothespins work
 well if the area on which you're working will allow their
 use. In other cases, you may have to resort to masking
 tape or even wood or "C" clamps and small sticks to
 ao tne job properly. However, use caution in clamping
 or you'll leave an impression in the leather that will
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When recementing a covering to a curved surface, use
G-clamps and ice cream sticks to apply even pressure
while the glue dries. Place a thin sheet of cardboard
between covering and wooden stick to prevent unwanted
impressions caused by the pressure.

nemain after the clamp has been removed. A thin card-
 board placed between leather and clamps is a good idea
 to prevent unwanted impressions.
  On older cameras, it's not unusual to find some of
 the leather covering missing. Because of the unique
 pebble or grain finishes which were put on by a pattern
 roller, exact duplicates of the material may be nearly
 impossible to locate. But give it a try-look around in
 junk and thrift stores; you may find just what you need
 in the most unexpected places. As an example, through
 the years, Kodak used the same pinseal leather on their
 photo albums that they used for many camera cover-
 ings. So, one old album will provide material to replace
 several missing camera coverings. If the leather is too
 thick, use sandpaper on the back side to thin it by abra-
 sion. Old shoes, leather purses, book bindings and other
 such articles can also be a prime source of materials.
 Make a template of the missing piece from a manila
 folder and use it as a pattern to cut the new piece.

CONDITIONING/Now comes the problem of getting
the leather back into condition and restoring the color.
For the perfectionist, there is the famous British Muse-
um leather dressing developed many years ago. As the
British have probably been working with old leather
book bindings longer than anyone else, they have found
remarkable means of restoring even badly deteriorated
leathers. While a time-consuming procedure, it has
proven itself over the years as one of the best available.
 A thorough buffing of the treated leather surface is
required with this process. For this reason, its use is
not recommended on bellows, where the unsupported
folds makes buffing difficult, or where a residue of un-
buffed dressing could possibly remain to cause adhesion
of the bellows' folds.
  You'll need 7 ounces (by weight) of anhydrous lano-
lin, 7z-ounce (by weight) of beeswax, 1 ounce (by vol-
ume) of cedarwood oil and 11 ounces (by volume) of
hexane petroleum distillate. The "practical" grade of
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cedarwood oil and hexane is quite adequate for this
 purpose. Begin combining the formula by dissolving the
 beeswax in the hexane, but keep the mixture away from
 open flame because hexane is highly inflammable. Add
 the cedarwood oil next, then the lanolin. Because lano-
 lin has the consistency of a thick gxease at room tem-
 peratures (and would give uneven results if used in that
 state), it should be heated in advance of mixing to soft-
 en it. Shake the mixture thoroughly prior to using.
  How does it work? Simple-lanolin is an animal fat
which does not become rancid and is very easily ab-
sorbed by leather. The slight amount of wax added
 helps in buffing and provides a thin surface film which
reinforces any powdery or cracked portions of the
 leather by providing a protective "skin." In addition
to its preservative qualities, the cedarwood oil forms
a bond between the lanolin and wax in the leather. And
hexane serves as a convenient solvent since it readily
dissolves beeswax.
  Apply the mixture in the following manner: First
wash the leather covering with soap and water; then
set it out to dry in a warm room for 24 to 36 hours.
The next step is to thoroughly rub the dressing mixture
into the leather. Although it will feel greasy to the
touch at this point, the leather can be easily bufred,
but before buffing, let it stand for 48 hours to give the
lanolin sufficient time to penetrate. This provides the
shiny "skin" on the surface which allows the leather's
grain to show to its best advantage and does not leave
a sticky surface after buffing. The end result of the
treatment is to soften the leather by replacing the natu-
ral oils it has lost over the years.
  Unless it's really in bad condition, you will probably
not have to go to the lengths of the Museum technique
to refurbish the average leather covering. In most cases,
you can achieve the same result by applying a coat of
saddle soap to remove the dirt which almost all old
equipment has acquired. Follow this with a coat of
neat's-foot oil to bring back a luster to most leathers
with a minimum of effort. As with the Museum tech-

nique, the basic idea here is simply to restore the natu-
ral oils that time has taken from the leather. Some
restorers prefer a very light coat of machine oil rubbed
on lightly and allowed to soak in, but this tends to leave
a dust-collecting residue. A final coat of wax is usually
desirable to add both a gloss and a protective coating.
While some restorers avoid the use of shoe wax, there
is no particular reason for doing so, as long as it's a
true wax and not one of the "self-polishing"  liquids,
which are almost always a water-base product. You
may prefer to use the neutral wax rather than the col-
ored, especially if the leather being waxed has a distinc-
tive shade that might otherwise be masked. The shoe
polish smell will disappear in a few days; in the mean-
time, it kills the musty odor of old leather. (If you wish
to go first class, National Camera Repair carries a
leather dressing at 40c per ounce that does a nice job.)

RESTORING COLOR/In many cases, the leather will
have faded from its original color. Fortunately, that
color is usually black and can be restored with ease.
But remember that not all dyes will give you the black
you need. Most leather dyes are basically a solvent and
carbon black (lampblack). But because the solvent will
draw out much of the moisture in the leather, it's im-
perative that you follow the use of a dye with a coat
of neat's-foot oil or another oil-restoring compound.
 Now what about colors other than black or brown?
Kodak, among several other companies, made a number
of colored cameras. but none of these were finished with
real leather. Regardless, the colors are almost always
faded in places. While you may be fortunate enough
to find a dye that matches, you'll have a considerable
problem in dyeing the material evenly. Unless you re-
work the entire covering, dye spotting will be evident.
It's better not to restore the colored coverings, but the
perfectionist who won't take no for an answer can try
an ordinary household dye like RIT. Completely re-
move the covering for best results with this method.
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Dissolve the package in a pint of very hot (but not
boiling) water; then test the solution on a small piece
of the covering. If it takes too lightly, add more dye
to the solution; if too dark, lighten by adding more hot
water. This is a risky situation because if it turns out
much darker than you want the first time, you're in
trouble. However, with the great variety of colors avail-
able today in such dyes, you should have little trouble
in locating one close enough to the original color. If
you find just the shade you need but it's a brand other
than RIT, mix it with half the amount of water speci-
fied for fabric use.
  There is one other approach you might find more
appropriate and much easier, providing the color match
proves satisfactory. There's a new material designed for
use in restoring vinyl fabrics that is covered more fully
under Bellows Restoration. In many instances,  it makes
a more than adequate replacement covering.
   If you intend the restoration solely for display or
even for limited use, the covering can be lacquered.
(Shoe manufacturers have used forms of lacquer on
shoes for generations and with great success.) Lacquers
do not stand flexing well and they do nothing for the
leather other than cover it, but they can provide an
even coloration. In many instances, you can coat the
lacquer with wax to produce a final finish difficult to
discern from the original-which may have been lac-
quered itself. If all else fails, try it on a small section.
Make certain that the leather surface is oil-free before
applying the lacquer.                                 gj                    B.JLn;,
  The simplest solution, and probably the ultimate in
Ieather covering, is replacement with a factory precut
piece. For cameras such as the Rolleiflex, many leather
sections can still be obtained from the manufacturer.
If the camera is relatively new (postwar) and the manu-
facturer is still in business, send him a request for a
replacement and ask for whatever suggestions he might
have for proper application.

                                                        13

BELLOWS RESTORATION

  F"y.  be.ginners realiz.e exactly how bad the problem  I   ot bellows restoration is. Bellows are subject to three
   t-yp"r_ of problems: (1) pin holes (2) separaiion and/or
  deterioration  of_ the various layers of material or (3)
  a mechanical failure of the bed mechanism that distorts
  or misfolds the bellows.
   At first glance, the best solution often appears to be
 a complete replacement of the bellows, but with some
  cameras, this is not only a major undertaking but vir-
  tually impossible without destroying other puitr. If you
 can replace one with a reasonable amount of work, and
  if the camera's value to you justifies the effort, 'then
 by all means do so. If the manufacturer  still has re-
 placement bellows on hand, that's your best source for
 an exact-size replacement. But in many cases, the man-
 ufacturer will have sold his remaining supplies or even
 the camera dies to another companf (as was the case
 of the Kodak Master View CamLra, now the Calumet
       repair parts for these are now available only from !r_S;
 calumet). If it's necessary to have a new bellows made,
 try Turner Bellows Company of Rochester, New york,
 or any other custom bellows makers.
  Although some restorers salvage bellows from junk
 cameras, these seldom fit precisely; many
 often produced the same size picture Lut mariufacturers"u-"r",
 never standardized the bellows sizes. some fotding cam-
 eras avoided fabric bellows entirely by means oiinter-
stacking Bakelite boxes and other ingenious methods.
This indicates designers knew and tried to avoid the
inherent problems of bellows rong before their era realry
ended (it took Polaroid to revive them;. But if you can,t
replace the bellows all is not lost. Once again, ih" qrrur_
tion is whether the camera is for show J, ,r.".
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To check a bellows lor tiny pinholes, insert a penlight
inside the bellows in a darkened room, moving it up the
seams and across the folds. Watch the exterior of the
bellows-if pinholes are present, you'll see the light
shining through.

FOR DISPLAY
   If the bellows simply show wear and contain a few
holes or small breaks, your answer can be a thinned
solution of white glue. Open the camera back and stuff
the bellows with tissue or newspaper.  If the bellows are
sornewhat misshapen, fold in the front support slightly
to get the creases into correct position without stretch-
ing the bellows. Paint them with the thinned glue solu-
tion, taking care to cover the entire surface until the
fabric is well saturated but not wet.
  As the glue begins to dry, use a pallet knife to reshape
any flat surface that needs it. A heat lamp or small
hair dryer will help speed up your work. You may need

                                                        15

to add a second coat after making certain that any
holes or tears are smoothed down. Then coat it with
a light spray or clear acrylic when dry. If the bellows
were originally a flat black, use a flat black lacquer
spray. For display purposes and even limited use, your
bellows will look and fold perfectly-on the outside. If
the bellows have come apart, the inside will still be in
poor condition but this will not be apparent.

FOR USE
   If you want to actually use the camera, you can ei-
ther replace the bellows with a commercial one, make
your own or rebuild the old one. If the layers of bellows
have come apart, it's usually because the cement has
dried up. When you open some old cameras you may
find only the inner and outer cloth and a handful of
bristol board strips. If all the parts are intact, you can
rebuild the bellows as follows:
   1. Measure sizes accurately and note them on a
sketch which roughly approximates the shape of the
material. Note particularly the sizes of the front and
rear frames, the length of the material unfolded and
the number and depth of the folds. If the bellows is
a Iong one, the folds may vary in depth.
  2. Use stiff cardboard, masking tape and white glue
to build a form that follows the dimensions of your
original bellows material.
   3. Using the old material as a pattern, cut your new
material. You may have to tape the old one together
 if it's in bad condition. Remember that you'll need both
inner and outer pieces.
   4. Cover your form with the inner material. Overlap
the edges, cement and let dry.
   5. Using the original stiffener strips, start with the
narrow pieces and cement them onto the liner material.
Allow about l/S2-inc}n between the strips.
   6. Cover the liner and strips with the outer material,
 taking care that your overlaps will be at the same posi-
 tion as the liner. Use spray glue and let dry.
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When relurbishing bellows, replace the stiffeners as
 shown, leaving 1/32-inch between edges.

   7. Crease the bellows by folding in the first two sets
of stiffeners, then out for the second two, in for the
next pair, and so on.
  8. Replace the front and rear frames.
  Pearce Hobby Supply markets a "Bellows-Fix" kit
by mail designed primarily for bellows that have light
leaks, pin holes or that need general strengthening. This
method uses a form of liquid rubber as a hole-fiUing
compound. Apply this to all of the edge-folding surfaces
and let dry overnight; then apply a brushed-on coat
of Hypalon@, another form of tiquid rubber. This is
also allowed to dry overnight; a second coat is used
if necessary. Finally, a finishing coat is applied by brush
or spray. Done correctly, the bellows can be repaired
to look like new and may actually prove superior to
the old bellows in its original condition.
  Often, merely patching the holes on the folds with
white glue will do very well. Let it dry, then follow with
                                                        l7

one or more coats of Vinyl-Spray. This is also available
under a variety of other trade names but-a warning
here-not all of these can be used over leather bellows.
A second brand name that works well is Color Jet Fab-
ric and Vinyl Spray.
   If you're working with a valuable camera, it may have
a leather bellows in poor condition. In this case, the
bellows should be rebuilt and the leather treated along
the lines of the British Museum formula. This is a
time-consuming process, but the dedicated restorer will
be willing to expend the effort.
  In summary, here are a few general rules for bellows
repair that you should follow:
   t. Wh"tt"ver possible, remove the bellows from the
camera first.
  2. Reshape the bellows before attempting to recoat
or patch them.
   3-. Avoid patching with tape, especially adhesive or
masking tape.
  4. Resurface the entire bellows rather than just
patching one part.
  5. Practice on several bellows that do not matter be-
fore beginning work on the one that does.

   OTHER COVERINGS

     anufacturers have long used substitute materials
     for leather and many have proven far more satis-
factory than leather in actual use. These substitutes
are usually longer-lasting, less expensive and able to
take more abuse, particularly on outer surfaces'
  You'll find coverings of rubber, vinyl, cloth, metal,
Bakelite, paint and just plain paper used on photo
equipment. Sottt" of these will be detailed separately
but many can be handled much like leather. The first
problem is to determine exactly what you're working
with. Unless you know for certain, it's very easy to
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18

totally destroy the material while tryinfi to restore it.
   Materials may be tested in this manner: If the cover-
 ing has curled up or if a section has broken away, you
 can easily determine the material. Otherwise, lift a
 small section and see if you can tell from the underside
 what it is that the manufacturer has made undetecta-
 ble from the surface. Vinyls and other plastics are gen-
 erally either totally smooth or have evenly molded
 ridges in them. Rubber has a molded feel and, Iike that
applied to Leica bodies, is often almost impossible to
remove. Cloth has an easily discernible woven struc-
 ture, although some plastic-impregnated  cloths may be
the same. Paper cracks and tears easily.
PAPER AND CLOTH                      b.*k/j,vS
  Although most people tend to think that all early
photographic equipment used leather as a covering, a
considerable amount was finished with paper or plas-
 tic-coated paper. Most box cameras were covered with
paper, and the Japanese even produced a number of
post-World War II cameras with paper coverings. There
are several things you can do with paper, almost none
of which will actually ruin it unless you happen to use
water or something with a solvent that affects the sur-
face. Always test first.
  For paper coveiings that have cracked off, it's usually
best to recover the section unless, ofcourse, you cannot
match the original. Gift-wrapping materials are a good
potential source for such replacement coverings, even
though they may,need to be sprayed with lacquer or
enamel before applying. If you cannot match the ma-
terial and do not want to substitute,  it's possible to
repair small sections with a technique that is successful
not only with paper but with rubber, plastic and other
materials where only small areas are left exposed. It's
called "cheating" but it works.
  First, carefully clean the area to be worked on to
remove any dirt. Next, cut the bristles of an inexpensive
artists' brush to about Ye-inch in length. Place a small

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The "genuine leatherette" coyering used on the Argus C,
C-2 and C-3 series is actually nothing more than paper
with an imprinted pinseal grain to simulate leather. When
restoring coverings, know exactly which material you're
working on to avoid ruining it in the attempt.
amount of lacquer (about %-teaspoon) in a dish and
let it stand until it begins to get tacky. Then dip the
brush in the lacquer and stipple the area to be covered.
(Stippting means jabbing the brush onto the area re-
peatedly.) Blow on the area to dry the lacquer and then
repeat the stippling until you've built up the lacquer
to the level of the original covering. When the final
layer has almost dried, stipple more lacquer onto the
surrounding area so that the built-up area blends with
the other covering. This works very well on a pinseal
cover, and with a little practice, you can duplicate al-
most any grain in a small area so that it's undetectable
to the casual eye. Finish the covering in whatever way
you like, but be careful about using solvents that may
soften the lacquer.
  Cloth coverings are best cleaned with a solution of
detergent, water and a little ammonia. Test an area
first to mdke sure that the cleaning will not remove
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