We do about this on my course. There's a few that I like, one in-particular though is legendary: Glyn Johns technique.
Essentially uses three mics (Central overhead, side positioned mic, and a kick drum mic)...however, various other mics can be added to bring other parts of the kit up, the snare or hi-hat for example). The positioning of the overhead and side mics are crucial to A) limit phase problems and B) get full equal coverage of the kit. Ambient mics can also be added obviously. The point is you can expand the technique to suit your needs.
(Note: 4 mics are used in the below example)
Side mic (X axis): above floor tom, facing across kit hitting towards hi-hat/snare, panned to taste.
Overhead (Y axis): facing down above kit onto toms/snare, panned to taste.
Any pair of decent cardioid condensers can be used, and i recommend an Audix D6 on the kick...plus obviously an SM dynamic on the snare top/bottom and a decent condenser on the hats or whatever if you choose to expand the setup. This technique can sound good or shit depending on various factors, such as kit, room and specific mic position...but isn't that just typical when recording drums.
Main thing is to EXPERIMENT!