The Photo School is something between a book, a magazine, an encyclopaedia and a self-instruction course. Above all, it is supposed to be easy to read, useful and enjoyable; and, we hope, in most cases accurate and even authoritative.
It consists of numerous modules, which are sometimes like chapters of a book; sometimes like magazine articles; and sometimes, well, just unclassifiable.
Roger shot this on Ilford XP2 Super, trade processed, printed (by Frances) on Ilford Multigrade Warmtone.The lens was a Voigtländer 90/3.5 Apo Lanthar on either a Leica M4-P or a Voigtländer Bessa-R2.
Action Level (from Reviews)
Appropriate quality (from 'Quality in Photography')
Basics (a multi-part set of modules on, yes, basics)
Box Brownie Leicas see Leica
Camera, The (from basics)
Choosing developing tanks, see Developing tanks
Composition I (from Quality in Photography)
Cut film holders, loading (from 'How do I..?')
Darkroom (converting toilet to) see Smallest Room
Darkrooms, see Our Darkrooms
Developers, choosing, see Choosing developers
Developing tanks for 35mm (from 'How do I...?')
Developing tanks, choosing (from 'How do I...?')
Ektar 100 film see Kodak
Exakta Varex VX IIa (Yes, the 1950s original) (from Reviews)
Events (photo festivals, etc.)
Exposure guide (when you haven't a meter, from Basics)
Film, introduction to, see Welcome to Film
Films, choosing, see Choosing films
Filter adapters, skeletonizing see Skeletonizing
Fixer testing (from 'How do I...?')
The focal point (composition)
Focus and depth of field (from Basics)
Fotosniper see Photosniper
Handling 120 film (from 'How Do I...?')
Hard edge (composition)
How do I...? (a series of modules, a bit like Basics)
Introduction to film, see Film
Kodak Ektar 100 film (from Reviews)
Labs, choosing, see Choosing a lab
Large format lenses, re-shuttering (from 'How do I...?')
Large format see also Upside down
Leica as a Box Brownie (from Basics)
Leica f/2.5 Summarits (from Reviews)
Leica M8 (from Reviews)
Leica M8.2 (from Reviews)
Leica Noctilux 50/1 see Farewell to the King
Leica Summilux 24/1.4 (from Reviews)
Leica Tri-Elmar 4/16-18-22 (from Reviews)
Leitz 90/2.2 Thambar (from Reviews) TO FOLLOW
Lens hood fittings (from 'How do I...?) TO FOLLOW
Lenses (from basics)
Lenses, choosing, see Choosing lenses
Loading cut film holders see Cut film holders
Loading 35mm into developing tanks (from 'How do I...?)
Markets, see agoraphilia
Meters and metering
Movement in a Still Life (Model Aircraft)
Movements, see Camera Movements
Negative exposure see Exposing negative films
Paterson water filter (from 'Microtests')
Photosniper (from Reviews)
Print File sleeves (from 'Microtests')
Processing 35mm and 120 film (from 'How do I...?')
Processing sheet film in a Paterson Orbital tank (from 'How do I...?')
Quality in photography (a series of modules)
S.E.I Photometer (from Reviews)
Sharpness I (from 'Quality in Photography')
Sheet film processing in Paterson Orbital tank see Paterson Orbital
Shirley Wellard cassettes, manufacturers' instructions (from 'How do I...?')
Shutters and shutter speeds (from Basics)
Slide exposure see Exposing slides
Smallest room (toilet) as darkroom (from 'How do I...?')
Sonnar, see Zeiss
Summarits, see Leica
Summilux 24/1.4 see Leica
Testing fixer see Fixer testing
Thambar 90/2.2 (from Reviews)
Tri-Elmar 4/16/18/21 see Leica Tri-Elmar
Trouble shooting TO FOLLOW
Turret finder, Soviet, see Soviet Turret Finder
Upside-down cameras, why and how (from 'How do I...?')
Using 35mm cameras (from 'How do I...')
Varex, see Exakta
WATE see Leica Tri-Elmar
Werra (from Reviews)
Wide-angle Tri-Elmar see Leica Tri-Elmar
The Worst DSLR in the World (Visoflex III on M9)
Zeiss 50/1.5 Sonnar (from Reviews)
Zeiss 4/18 Distagon (from Reviews)
Zeiss Ikon (camera and lenses, from Reviews)
Zone focusing (from 'How do I...?')
18% gray cards, see Gray cards
16-18-21 Tri-Elmar see Leica Tri-Elmar
18 mm Zeiss Distagon see Zeiss
35mm bulk loading, see Bulk loading
35mm cameras, see Using 35mm cameras
35mm cassettes see Cassettes
35mm and developing tanks, see Developing tanks
35mm film processing see Processing 35mm and 120
120 film see Handling 120 film
120 film processing see Processing 35mm and 120
Girl reading map
There are so many exhibitions at the Rencontres at Arles (this is 2008) that it can be hard to choose which ones to visit, in what order, and for how long. This site is much the same, we hope.
A Bright Future Awaits You On the Colony Planets
We like to travel as much as we can. This Beijing street scene reminded Frances so much of the movie Blade Runner that the title suggested itself.
Mearle's Drive-In, Visalia, California
The classic Corvette was pure luck, and even though Roger had slow film (Fuji 50) and a slow lens (Zeiss Biogon 50/4.5) he decided to try his luck anyway, at about 1/15 hand held. If you don't play, you can't win.
Long Range Desert Group
Re-enactors are often wonderful subjects, and as they are (pretty much by definition) putting themselves on display, there is rarely much embarrassment about photographing them.
Girl on water-slide, Igal, Hungary
The great thing about most of continental Europe is that people still regard it as a bit of a lark to be photographed, rather than getting upset about it. We have a great weakness for spas, and Igal is probably our favourite.
Frances hand-coated heavy water-colour paper with liquid emulsion to make this picture. The trouble is, of course, that there is a certain amount of luck involved in how the image and the coating interact.
Danseuse, Spectacle de Danse, Moncontour 2007
Every year, the local Jazz Dance Association puts on a Spectacle de Danse with dancers of all ages: this is one of the youngest. Frankly, the picture isn't very sharp: it is a close-up, taken with a Noctilux 50/1 at full aperture and ISO 2500. Is the lack of sharpness the first thing you notice?
There is inevitably a fair amount about equipment on the site: we just don't agree with the people who say. "Equipment doesn't matter." What we're concerned with is on the one hand, the right equipment for the job, and on the other, having fun with that you've got.
Barred window, Arles
Arles again, because it illustrates one of the things we shoot a lot of: old buildings, ruins, ancient towns and cities. We go there every year for the Rencontres.
Sunshade, South of France
Although Roger shoots the majority of our colour, for which he uses mostly digital cameras (almost exclusively Leicas) we both prefer film for black and white. Frances used 6x9cm Ilford HP5 Plus in her Alpa for this picture.
Frances does quite a lot of hand colouring, sometimes of her own pictures (as here) and sometimes of Roger's. There is a whole gallery of hand colouring.
The roof rack on our old Land Rover makes a wonderful shooting platform and greatly reduces the need for rising fronts or shift lenses.
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© 2010 Roger W. Hicks