Context_1 : Lewis Wickes Hine (September 26, 1874 – November 3, 1940) was an American sociologist and photographer. Hine used his camera as a tool for social reform. His photographs were instrumental in changing child labor laws in the United States. Context_2 : Untitled Film Stills is a series of sixty-nine black and white photographs by American visual artist Cindy Sherman from 1977-1980, which gained her international recognition. The artist poses in various stereotypical female roles inspired by 1950's and 60's Hollywood, Film noir, B movies, and European art-house films. They represent clichés or feminine types (the office girl, bombshell, girl on the run, housewife, and so on) "that are deeply embedded in the cultural imagination." The character in all of these photographs are always looking away from the camera and outside of the frame. Sherman casts herself in each of these roles, becoming both the artist and subject in the work.The art historian Rosalind Krauss described this series as “copies without originals”. All of the images are untitled, as Sherman wanted to preserve their ambiguity. The numbers affiliated with individual works of art are assigned by her gallery, mainly as a cataloguing system. In December 1995, The Museum of Modern Art (MOMA) acquired all sixty-nine black-and-white photographs in the series. In past exhibitions at MOMA, the photographs are neither hung chronologically, nor grouped according to theme, locale, or content. Modest in scale compared to Sherman’s later cibachrome photographs, they are all 8 1/2 by 11 inches, each displayed in identical, simple black frames. The glossy finish and scale are meant to reference publicity or promotion stills for a movie. In the essay "The Making of Untitled," Cindy Sherman reflects on her beginnings with this series:"I suppose unconsciously, or semiconsciously at best, I was wrestling with some sort of turmoil of my own about understanding women. The characters weren't dummies; they weren't just airhead actresses. They were women struggling with something but I didn't know what. The clothes make them seem a certain way, but then you look at their expression, however slight it may be, and wonder if maybe "they" are not what the clothes are communicating. I wasn't working with a raised "awareness," but I definitely felt that the characters are questioning something-perhaps being forced into a certain role. At the same time, those roles are in film: the women aren't being lifelike, they're acting. There are so many levels of artifice. I like that whole jumble of ambiguity. -"Cindy Sherman Context_3 : __notoc__Kohei Yoshiyuki (吉行耕平 , Yoshiyuki Kōhei , born 1946) is a Japanese photographer who attracted much attention in 1979 with his exhibition "Kōen" (公園 , Park) at the Komai Gallery, Tokyo. The black-and-white photographs were presented in a book published in 1980 that is "nominally a soft-core voyeur's manual", with photographs of people in sexual activities in Shinjuku and Yoyogi parks (both in Tokyo), mostly with unknown spectators around them. The photographs were taken with a 35 millimetre camera and infrared flashbulbs. Gerry Badger and others have commented on how the photographs raise questions about the boundaries between spectator, voyeur and participant. Context_4 : A rangefinder camera is a camera fitted with a rangefinder, typically a split-image rangefinder: a range-finding focusing mechanism allowing the photographer to measure the subject distance and take photographs that are in sharp focus. Most varieties of rangefinder show two images of the same subject, one of which moves when a calibrated wheel is turned; when the two images coincide and fuse into one, the distance can be read off the wheel. Older, non-coupled rangefinder cameras display the focusing distance and require the photographer to transfer the value to the lens focus ring; cameras without built-in rangefinders could have an external rangefinder fitted into the accessory shoe. Earlier cameras of this type had separate viewfinder and rangefinder windows; later the rangefinder was incorporated into the viewfinder. More modern designs have rangefinders coupled to the focusing mechanism, so that the lens is focused correctly when the rangefinder images fuse; compare with the focusing screen in non-autofocus SLRs. Context_5 : Paul Felix Lazarsfeld (February 13, 1901 – August 30, 1976) was an American sociologist. The founder of Columbia University's Bureau of Applied Social Research, he exerted influence over the techniques and the organization of social research. "It is not so much that he was an American sociologist," one colleague said of him after his death, "as it was that he determined what American sociology would be." Lazarsfeld said that his goal was “to produce Paul Lazarsfelds." The two main accomplishments he is associated with can be analyzed within two lenses of analysis: research institutes, methodology, as well as his research content itself. Context_6 : The Canon BG-ED3 is a battery grip manufactured by Canon for certain models of its EOS digital SLR camera range. It was originally designed for the Canon EOS D30. It can hold 2 BP-511 or BP-511A batteries, effectively doubling the battery life of these cameras. The BG-ED3 can also accept the DR-400 DC Coupler, which when attached to a CA-PS400 or AC adapter ACK-E2, draws directly from an AC power source. A BG-ED3 is not necessary to use a compatible EOS camera with the DR-400. This battery grip also has extra buttons for controlling the camera. It has a shutter release button on the corner, making it easier to shoot vertically framed shots, as the button will be under the right index finger of the photographer. There are other buttons, a switch, and a dial. A larger dial is used to turn the screw that secures the grip to the camera body. The camera body's battery cover can be removed without tools since it is held in place with a spring-loaded pin that can be retracted by a fingernail. The BG-ED3 has space to store the camera body's detached battery cover next to the post that slides into the camera body's battery compartment. Context_7 : Michael Douglas and Catherine Zeta-Jones agreed a deal with OK! Magazine which would give the company exclusivity over their wedding which took place in 2000 at the Plaza Hotel in New York. According to the deal the couple were to approve the selection of photographs used by OK! Magazine. In order to ensure the exclusivity there was strict security of the event and no guests were allowed to take photographs, the event was closed to the media and guests were told to surrender any equipment which could be used to take photographs. However a freelance photographer Rupert Thorpe, son of the former British politician Jeremy Thorpe, managed to get into the wedding and take photographs of the couple. This photographer then sold the images to "Hello" magazine which had earlier attempted to bid for the photographs. The deal with "OK!" Magazine was worth £1,000,000. Context_8 : A camera dolly is a wheeled cart or similar device used in filmmaking and television production to create smooth horizontal camera movements. The camera is mounted to the dolly and the camera operator and focus puller or camera assistant usually ride on the dolly to push the dolly back and forth. The camera dolly is generally used to produce images which involve moving the camera toward or away from a subject while a take is being recorded, a technique known as a "dolly shot." The dolly grip is the dedicated technician trained to operate the dolly by manually pushing it back and forth. Context_9 : Kinetic photography (kinetic meaning "“caused by motion”") is an experimental photographic technique in which the photographer uses movement resulting from physics to create an image. This typically involves the artist not directly holding the camera, but allowing the camera to react to forces applied to it in order to make a photograph. This can include, but is not limited to; holding and shaking the wrist strap of the camera while taking a picture, dropping the camera off of objects while taking a picture, throwing or spinning the camera up in the air while taking a picture (called a "camera toss"), or rigorously moving the camera while taking a picture, etc. As the photographer has surrendered control over the camera to physical forces, this technique tends to produce abstract, random or blurred-motion photographs. Context_10 : Henry Sharpe Higginbotham, better known as Shorpy Higginbotham ( November 23, 1896 — January 25, 1928) was a laborer in an Alabama coal mine in the early twentieth century. He served in World War I before returning to the mines, where he was killed by a falling rock in 1928. Higginbotham was the subject of a series of photographs by Lewis Hine that showed the child working in the dangerous environment of a coal mine. He is the namesake of the historical photography blog Shorpy.com, where he has become a symbol of child labor in the United States. fact_1 : Henry Sharpe Higginbotham, better known as Shorpy Higginbotham ( November 23, 1896 — January 25, 1928) was a laborer in an Alabama coal mine in the early twentieth century. fact_2 :  Higginbotham was the subject of a series of photographs by Lewis Hine that showed the child working in the dangerous environment of a coal mine. fact_3 : Lewis Wickes Hine (September 26, 1874 – November 3, 1940) was an American sociologist and photographer. fact_4 :  Hine used his camera as a tool for social reform. Answer: social reform
Output: Shorpy Higginbotham was the subject of a series of photographs by an American sociologist and photographer who used his camera as a tool for what?