writes, 'the caliber of the "student's" photographs quickly exceeded those of her more experienced husband'. Her photography demonstrated a 'superior command of lighting, exposure, and composition', with subject matter encompassing a diverse range of church features. Kingsley Porter, noting Wallace Porter's talents, published 26 of her photographs in his volume of Lombard Architecture that was published by Yale University Press in 1915. During their travels in 1918 and 1919 in France, where Kingsley Porter was commissioned to document damaged medieval churches, Wallace Porter continued to develop her photographic acumen. Kingsley Porter even acknowledged that Wallace Porter's skills were far superior to his in a letter to his brother on May 12, 1919: Photographs have gone better than before – Lucy runs the cameras exclusively now, and does much better with them than I ever did. She has the large camera, with 8×10 or 5×7 plates, and also a smaller one, which we can carry by hand, which takes 4×5 plates. We are able now to procure all the plates we need, so the photographs are going well. I trust that nothing breaks or gives out, for it is almost impossible to get repairs made. Wallace Porter's contribution to her husband's publications would continue to have a significant impact on his career. Brush notes that she helped him to 'judge, compare, and envision links among sculptors and sculptures all over Europe, especially in the regions of present-day France, Spain, and Italy'. Wallace Porter was the principal photographer who accompanied him on his travels from 1919 onwards. Kingsley Porter's published works included Romanesque Sculpture of the Pilgrimage Roads (1923) and Spanish Romanesque Sculpture (1928). He is known to have been an innovative “scholar-photographer”. Brush writes that following their marriage, Wallace Porter went on to produce 'more than two-thirds of the photographs published in Romanesque Sculpture of the Pilgrimage Roads'. Brush concluded by recognising her as a major photographer in her own right. Style Scholars studying Porter's photographs have noted the direct, front-on view which aligned with the expectations of modern art scholars more than the perspectives of medieval viewers: In almost all cases, Lucy Porter's photographs proclaim their modernity by representing eleventh- and twelfth-century sculpture separated from its architectural contexts [...] Lucy's post-war photography among the ruins of northern France made her well versed in this modernist practice. Despite the constraints imposed upon her, much of her work from the first half