E. S. Tompkins, B.Sc., A.R.P.S., a contributor to this paper, was scheduled to present a lecture on “Speed Photography—Motor-Racing” before the Royal Photographic Society last November, but the war resulted in its cancellation. Instead, it was published as an article in the January, 1941, issue of “The Photographic Journal.” Mr. Tompkins has studied the art of expressing in photographs the spirit of motor-racing in the same way that F. J. Mortimer has done for the sea or as Miss Merlyn Severn has done for the ballet. Photographic technique is discussed at some length, and the practice of lending an impression of speed by blurring the image of the car is condemned. The most useful camera for motor-racing photography is described as one with a focal-plane shutter, speeded down to 1/1,000th second, a lens of aperture f/4.5 or larger, and a direct-vision, open-frame view finder. High-speed panchromatic emulsion is suggested and fast colour-films can be successfully used with the large aperture lens of the modern miniature camera. Exposures should be 1/250th and 1/500th second. When panning, or swinging the camera to follow a car, avoid verticals in the background, if possible, and centre the driver in the view finder. The article concludes with advice on what to photograph, and where—very nice, when we again can! The author illustrates his article with truly excellent photographs of Earl Howe’s E.R.A. entering the “S” at Shelsley, John Cobb’s Napier-Railton raising the dust while crossing the Fork at Brooklands, Raymond Mays (E.R.A.) in the Shelsley paddock, “Bira’s” Maserati on the straight at Donington, Baron’s Bugatti in shadow and shade at Prescott, and Appleton’s Appleton-Special leading a group of cars round Stadium Curve at the Crystal Palace.