Question: What American photographer and photojournalist best known for his work for the Farm Security Administration is part of the " loosely defined group of photographers who lived and worked in New York City during the 1930s, 1940s and 1950s"?

<P0-S0> Let Us Now Praise Famous Men is a book with text by American writer James Agee and photographs by American photographer Walker Evans, first published in 1941 in the United States. <P0-S1>  The work documents the lives of impoverished tenant farmers during the Great Depression. <P0-S2>  Although it is in keeping with Evans' work with the Farm Security Administration, the project was initiated not by the FSA, but by "Fortune Magazine". <P0-S3>  The title is from a passage in the Wisdom of Sirach (44:1) that begins, "Let us now praise famous men, and our fathers that begat us". <SEP> <P1-S0> Theodor Jung (May 29, 1906 in Austria-Hungary – February 19, 1996 in California) was an American photographer, best known for his work with the Farm Security Administration, one of Franklin Delano Roosevelt's New Deal programs. <P1-S1>  Hired for the agency in 1935, when it was still called the Resettlement Administration, he photographed life in the Great Depression. <P1-S2>  He left the agency the following year and served as photographer for the Consumers Council, another government agency, and the "Consumers' Guide". <P1-S3>  Later in life he served as art director and photographer for a number of publications and advertising agencies. <SEP> <P2-S0> Walker Evans (November 3, 1903 – April 10, 1975) was an American photographer and photojournalist best known for his work for the Farm Security Administration (FSA) documenting the effects of the Great Depression. <P2-S1>  Much of Evans's work from the FSA period uses the large-format, 8x10-inch (200x250 mm) camera. <P2-S2>  He said that his goal as a photographer was to make pictures that are "literate, authoritative, transcendent". <P2-S3>  Many of his works are in the permanent collections of museums and have been the subject of retrospectives at such institutions as The Metropolitan Museum of Art or George Eastman House. <SEP> <P3-S0> The New York school of photography is identified by Jane Livingston as "a loosely defined group of photographers who lived and worked in New York City during the 1930s, 1940s and 1950s" and who, although disinclined to commit themselves to any group or belief, "shared a number of influences, aesthetic assumptions, subjects, and stylistic earmarks". <P3-S1>  Livingston writes that their work was marked by humanism, a tough-minded style, photojournalistic techniques, the influence of "film noir" and the photographers Lewis Hine, Walker Evans, and Henri Cartier-Bresson; and that it avoided "the anecdotal descriptiveness of most photojournalism" and the egoism of American action painting, and indeed that it was remarkably little influenced by contemporary painting or graphic design (even though a number of its exponents had direct experience of these). <P3-S2>  Livingston selects as key exponents of the New York school of photography Diane Arbus, Richard Avedon, Alexey Brodovitch, Ted Croner, Bruce Davidson, Don Donaghy, Louis Faurer, Robert Frank, Sid Grossman, William Klein, Saul Leiter, Leon Levinstein, Helen Levitt, Lisette Model, David Vestal, and Weegee.