Alfred Cheney Johnston and His Exquisite Images of Ziegfeld Follies Showgirls

The story of Alfred Cheney Johnston is one of artistic ambition, technical mastery, and a deep love for beauty in all its forms. Known for his stunning portraits of the Ziegfeld Follies showgirls and an impressive array of stage and screen stars, Johnston’s work remains a testament to the glamour and artistry of early 20th-century entertainment. But behind these captivating images lies the journey of a man who navigated the changing tides of fortune, technology, and public taste to create a lasting legacy.

Early Life and A Pivot to Photography

Alfred Cheney Johnston was born on 8 April 1885 into a wealthy banking family in New York City. Shortly after, the family relocated to Mount Vernon, New York, providing young Alfred with a comfortable upbringing that fostered his artistic interests. He initially trained as a painter and illustrator, enrolling at the prestigious National Academy of Design in New York, where he honed his skills in composition, light, and shadow.

In 1909, after marrying fellow student Doris Gernon, Johnston attempted to make a name for himself as a portrait painter. Despite his evident talent, he found limited commercial success, and by 1910, he began exploring photography as an alternative medium. According to family lore, it was Charles Dana Gibson, the celebrated illustrator behind the iconic “Gibson Girl,” who suggested Johnston try photography. Using his camera initially to document painting subjects, Johnston quickly realised the camera’s potential for artistic expression.

When Alfred Cheney Johnston became the Photographer of the Ziegfeld Follies

Alfred Cheney Johnston's big break came around 1917, when Florenz Ziegfeld, the mastermind behind the Ziegfeld Follies, hired him as the official photographer for the revue. Ziegfeld, who famously referred to his showgirls as “the most beautiful women in the world,” needed someone capable of capturing their elegance and allure. Johnston was the perfect choice.

For the next 15 years, Johnston’s portraits defined the visual identity of the Follies. His studio in New York became a revolving door for Ziegfeld’s performers, as well as other rising stars. The photographs served as promotional tools, plastered on posters and in magazines, ensuring the Follies’ allure reached audiences far and wide. Johnston’s images were not merely promotional material; they were works of art that captured the vivacity and beauty of his subjects.

The Johnston Style: Mastery of Light and Detail

Johnston’s technical prowess set him apart from his contemporaries. He often used a Century-brand view camera capable of producing 11x14-inch glass-plate negatives. These negatives captured an extraordinary level of detail, and his standard prints—contact prints made directly from the negatives—revealed every nuance of fabric, skin, and expression. He also worked with smaller formats, such as a Graflex roll-film camera and Zeiss Ikon models, showing versatility in adapting to various photographic challenges.

Johnston’s studio portraits were meticulously staged. He preferred black or tapestry backdrops that allowed his subjects to stand out, often illuminated by dramatic yet soft lighting. The interplay of shadow and light created an almost painterly effect, reflecting his early training in the fine arts. Johnston had a talent for bringing out the individuality of his sitters, whether a wistful gaze or a confident smile, lending his images a timeless quality.

Showgirls, Stars, and Scandals

Though Johnston primarily photographed Ziegfeld’s showgirls, his lens also captured some of the most famous faces of the era. His portfolio includes legendary actresses like Clara Bow, Gloria Swanson, Mary Pickford, and Norma Shearer, as well as theatre icons like Helen Hayes and Tallulah Bankhead. Actors such as John Barrymore and Tyrone Power also sat for him, their charisma frozen forever in his detailed prints.

Interestingly, after Johnston’s death in 1971, a cache of nude and semi-nude portraits was discovered at his Connecticut farm. Many of these featured Ziegfeld showgirls in poses far more daring than what the public saw at the time. Speculation abounds as to whether these were private commissions for Ziegfeld himself or simply Johnston’s personal exploration of artistic freedom. Regardless of their origin, these images are now celebrated as bold works of art, challenging the boundaries of acceptable photography in their era.

The Great Depression and Changing Fortunes

The stock market crash of 1929 and the ensuing Great Depression devastated Ziegfeld’s empire. The producer’s financial ruin and subsequent death in 1932 marked the end of an era for Johnston, who found himself struggling to adapt to a changing world. By the late 1930s, Johnston had relocated to a farm in Oxford, Connecticut, where he continued his photographic work on a smaller scale, converting a barn into a studio.

Though he briefly operated commercial studios in Connecticut in the 1940s and 1950s, Johnston never recaptured the prominence he had enjoyed during the Follies’ heyday. Nevertheless, he remained dedicated to his craft, continuing to use his beloved 11x14 camera to photograph a new generation of models.

Legacy and Rediscovery

In 1960, Johnston donated 245 prints to the Library of Congress, ensuring that his work would be preserved for future generations. This collection includes portraits of Follies showgirls, Broadway stars, and Hollywood legends, along with product advertisements showcasing Johnston’s versatility.

Following his death in a car accident in 1971, Johnston’s work faded into relative obscurity. However, in recent decades, his photographs have been rediscovered by collectors and enthusiasts, who admire their technical precision and artistic sophistication. Today, his images fetch high prices at auctions and are displayed in galleries, serving as a reminder of an era when beauty, glamour, and artistry converged on the stage and in front of Johnston’s lens.

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