Guzy grew up in Pennsylvania with her mother and trained to be a nurse before picking up a camera. After a stint at the Miami Herald, where she covered the devastating volcanic eruption in Colombia in 1985, Guzy covered the plight of Kosovo refugees, famine in Ethiopia, civil unrest in Haiti, the fall of the Berlin Wall, and Hurricane Andrew in Florida.
"It's humbling to witness acts of genuine courage and kindness by those some would unwisely think the least among us. People living in abject poverty offer this stranger their last piece of bread and shelter from harm," Guzy says. "Sometimes the dignity with which people deal with adversity is most revealing. To tell their stories is a privilege. We are challenged in our work not only to examine issues and expose problems but also to find poetry in everyday lives."
Drawn to conflict early in his career, Morris endured loneliness and shell shock in Afghanistan in the late 1980s as he learned to survive on the front lines. "The most crucial thing to teach yourself is how to control fear," writes Morris, who also covered the invasion of Panama, the Persian Gulf War and the breakup of the former Yugoslavia. "Conflict photography was and still is the art of trying to capture one man attempting to kill another man. This is not an easy task."
Unlike many of his colleagues, Morris chose to have a family, which led to other editorial work, including photographing Republicans in America during the George W. Bush administration. That resulted in his book "My America." Now he shoots fashion as well.
When the Sept. 11 terrorist attacks happened, however, he was back in Iraq with troops storming into Baghdad. "It's ironic, for my current work is so static and structured. With conflict it was all about attempting to convey the intensity of the situation. While working I was never really consciously trying to emulate movement — it just so happened to be situations that were so very fluid. Sometimes this comes out in an image."