photo school index

Action Level (from Reviews)

Agoraphilia (love of marketplaces)

Appropriate quality (from 'Quality in Photography')

Arles 2008 (from 'Events')

Arles 2009 (from 'Events')

Arles 2010 (from 'Events')

Art and photography

Artisan and Artist camera straps

Backgrounds and foregrounds


Basics (a multi-part set of modules on, yes, basics)

Benser Soft Case

Black and white photography

NEW Body of Work


Box Brownie Leicas


Bulk loading 35mm film (from 'How do I...?')

Camera, The (from basics)

Camera movements

Change and decay


Choosing a lab

Choosing a Used Meter

Choosing developing tanks

Choosing black and white films; see also Choosing films

Choosing films

Choosing lenses

Choosing negative developers

Choosing and using thermometers

Colour for colour's sake

Comparison Densitometer

Composition I (from Quality in Photography)

Creating a photo-school course


Cut film holders, loading (from 'How do I..?')

Darkroom (converting toilet to)

Darkrooms, see Our Darkrooms

Decisive moments

Density, the H&D curve and gamma

Details (composition)

Developers, choosing

Developing tanks for 35mm (from 'How do I...?')

Developing tanks, choosing (from 'How do I...?')

Dodging and burning

Does equipment matter?

Ektar 100 film see Kodak

Exakta Varex VX IIa (Yes, the 1950s original) (from Reviews)

Exploded Photographs(from 'How do I...?')

Exposing negative films

Exposing slides and digital

Exposure guide (when you haven't a meter, from Basics)

Farewell to the King (Leica 50/1 Noctilux review)

Film, introduction to

Films, choosing

Filter adapters, skeletonizing

Fixer testing (from 'How do I...?')

The focal point (composition)


Focus and depth of field (from Basics)


Four views of a statue


Gossen Tele Semi-spot Attachment

Gray cards

Gurus and why to avoid them

Handling 120 film (from 'How Do I...?')

Hints and tips

How do I...? (a series of modules, a bit like Basics)

How many cameras do you need?

Hybrid darkrooms


Introduction to film

Irreproducible results

ISO film speeds

Kodak Ektar 100 film (from Reviews)

Konica SIII review (from Reviews

Labs, choosing

Large format lenses, re-shuttering (from 'How do I...?')

Large formats

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 M9 (from Reviews)

Leica Noctilux 50/1

Leica Summilux 24/1.4 (from Reviews)

Leica Tri-Elmar 4/16-18-22 (from Reviews)


Leitz Tri-Lens Turret

Lenses (from basics)

Lenses, choosing

Loading cut film holders

Loading a 35mm camera (from How do I...?)

Loading 35mm into developing tanks (from 'How do I...?)

Low-light photography

Lumimeter Review

Magic windows


Medium formats

Meters and Metering Basics

Microtests and other reviews

More or Less

Movement in a Still Life (Model Aircraft)


Narrative, record and graphic pictures

Negative development technique

Negative exposure

Old lenses

Over and Under Indices

Our darkroom(s)

Our materials

Part and the Whole, the

Paterson water filter (from 'Microtests')

Perspective and the illusion of depth

Photography and motorcycles

Photosniper (from Reviews)

Portrait and landscape

Portrait lenses and lighting


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)

Rangefinder photography

Re-shuttering large format lenses


Saving money

S.E.I Photometer (from Reviews)


Sharpness I (from 'Quality in Photography')

Sheet film processing in Paterson Orbital tank

Shirley Wellard cassettes, manufacturers' instructions (from 'How do I...?')

Shooting the past

Shutters and shutter speeds (from Basics)

Skeletonizing filter adapters (from 'How do I...?)

Slide exposure

Still lifes

Smallest room (toilet) as darkroom (from 'How do I...?')

Street photography

Subject brightness range


Summilux 24/1.4

Testing fixer

Tewe Polyfocus zoom finder (from Reviews)


Thermometers, choosing and using (from 'How do I...?'


Tri-Elmar 4/16/18/21


Typewriter (in winter sun)

Upside-down cameras, why and how (from 'How do I...?')

Using 35mm cameras (from 'How do I...')


Visoflex III on M9

Voluntary limits

Watkins Bee Meter Review


Welcome to film

White on white

Wide-angle 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...?')

The Zone System Gospel

Zone System: why we avoid it

18% gray cards

16-18-21 Tri-Elmar

18 mm Zeiss Distagon

35mm bulk loading

35mm cameras

35mm cassettes

35mm and developing tanks

35mm film processing

120 film

120 film processing

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.

Reculver Towers

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?

Voigtländer Bessa-1

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.

Lido, Margate

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.