Question: 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?

<P0-S0> Paul Felix Lazarsfeld (February 13, 1901 – August 30, 1976) was an American sociologist. <P0-S1>  The founder of Columbia University's Bureau of Applied Social Research, he exerted influence over the techniques and the organization of social research. <P0-S2>  "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." <P0-S3>  Lazarsfeld said that his goal was “to produce Paul Lazarsfelds." <P0-S4>  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. <SEP> <P1-S0> Lewis Wickes Hine (September 26, 1874 – November 3, 1940) was an American sociologist and photographer. <P1-S1>  Hine used his camera as a tool for social reform. <P1-S2>  His photographs were instrumental in changing child labor laws in the United States. <SEP> <P2-S0> 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. <P2-S1>  He served in World War I before returning to the mines, where he was killed by a falling rock in 1928. <P2-S2>  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. <P2-S3>  He is the namesake of the historical photography blog Shorpy.com, where he has become a symbol of child labor in the United States. <SEP> <P3-S0>  The characters weren't dummies; they weren't just airhead actresses. <P3-S1>  The character in all of these photographs are always looking away from the camera and outside of the frame. <P3-S2>  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. <P3-S3>  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. <P3-S4>  -"Cindy Sherman <P3-S5>  There are so many levels of artifice. <P3-S6>  All of the images are untitled, as Sherman wanted to preserve their ambiguity. <P3-S7> 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. <P3-S8>  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." <P3-S9>  At the same time, those roles are in film: the women aren't being lifelike, they're acting. <P3-S10>  They were women struggling with something but I didn't know what. <P3-S11>  The numbers affiliated with individual works of art are assigned by her gallery, mainly as a cataloguing system. <P3-S12>  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. <P3-S13>  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. <P3-S14>  The glossy finish and scale are meant to reference publicity or promotion stills for a movie.