"There are many problems with the photo that debunk it as being Johnson, and the others. First, the lower half of the alleged Johnson figure’s face is obscured by his hand and the glass he’s holding making his entire face unidentifiable. There’s no way of knowing whether he had a cleft chin, buck teeth or a beard. The woman identified as Craft looks nothing like the only known photo of her. And Craft died in 1932, meaning that the photo had to be taken [sometime before her death]. That would make “Johnson” 20 and “Lockwood” 16 [years old], while the two men in the photo appear older than that. Johnson didn’t even meet Coleman and Lockwood until sometime after 1932.
Further, the quartet is sitting around a table and chairs of bent-chrome design that didn’t become commonly popular until after WWII. The women’s clothing and strapped shoes are not 1931 vintage, nor are their eyeglasses or hairstyles, and even the Coca Cola bottle on the table is of a size that wasn’t used until 1950. Finally, the photo appears to be a faded color print, not a black and white photo, and color film was not available in 1931. Kodak didn’t start producing color film for cameras until 1936. There is simply no way this photo could be from 1931 or even 1932, and it clearly is not of the people Gibson claims it to be.
In our attempts to [be] thorough, however, we even had the photo examined by Professor Mark Nixon of the University of Southampton, U.K., a world-famous expert in computer face recognition and medical image analysis who said that there was “no match” between the individual Gibson claimed was Lockwood and photos of the real Lockwood.
[Excerpt omitted for brevity]
The business of Robert Johnson is always looking for new photos, Johnson’s guitar, or making claims such as his recordings are at the wrong speed. Hopefully the definitive biography of Johnson that Gayle Dean Wardlow and I are completing will put an end to much speculation and conjecture."
Bruce Conforth, Ph.D., is a faculty member at the University of Michigan specializing in 20th century American cultural history. He serves on the executive board of the Robert Johnson Blues Foundation and is the director of the Blues Heritage Foundation.
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