I did the “After Series” portraits in approximation of well-known paintings — not intending to copy them, rather to use them as a starting point, from which to portray the “feeling” of the originals. The still lifes were set up by wife Mary Balcomb and photographed by me with the one-light system I got from William Mortensen. The color, also a Mortensen technique, is a replacement of his Metalchrome color. He called it Prismatic, which I use for all my color work.

Notes on the photographs:

After Vermeer: Girl from Germany on visit. Her close resemblance to Vermeer’s “Girl with Pearl Earring” suggested that I ask her to sit for this portrait. Mary prepared her, I photographed her. This print began my b/w After Series.

Savonarola: Color version of my second After Series b/w titled “After Bartolommeo,” who painted Savonarola in 1497. Beautiful nose of 15-year-old Kevin was a must.

After Leonardo: Model came up from Los Angeles for portrait. I saw this close resemblance to men in Leonardo da Vinci’s drawings, resulting in my third After Series.

The Bainbridge Autumn Apple: Mary brought home this late autumn apple. I photographed and colored it.

Mexican Wood Flower, Pumpkin, and Dried Fruit: One of eighteen still lifes arranged by wife Mary. Wood flower from Mexico, dried pumpkin, dried fruit.

Driftwood, Pumpkin, and Dried Fruit: wood is Mexican wood flower, with dried pumpkin, dried fruit.

Matilija Poppies in Jar: poppies from Ventura Valley, CA. Antique porcelain jar from England.

Belgian Wine Goblet: goblet from Belgium, antique Japanese vase, dried fruit.

Matilija Poppies: poppies in choice English pitcher, dried fruit.

Yellow Rose: Mrs. Nordby’s Yellow rose, dried fruit.

All through these years, I have dwelled on one particular memory: When I visited Myrdith Mortensen in Laguna Beach in 1971 she said to me, “You know, Bill thought of you as his protégé.” He told me that I was the only one who really caught on to his methods of producing portraits and sticking to it, but I do realize that he did not see me as an over-all photographer. I have never considered myself a photographer — in the sense that Mortensen was a photographer, or Adams, or so many of the great ones — but as a portraitist in the way he had taught me. Mortensen, however, was a technician, as well as photographer and artist — I am limited strictly to the methods I use as a portrait photographer.

I sincerely hope that others out there will do what they can to keep traditional photography alive, alongside the amazing digital processes. They both have their place in the world of photography.