Donald A. Morgan

On his childhood and early interests; on playing in a band in junior high and high school; on attending Santa Monica City College and his interest in graphic design and architecture; on his first job in television -- in the mailroom of KTTV; on getting on staff in the lighting department

On learning lighting techniques from George and Tommy Schamp early in his career; on lighting All in the Family and The Jeffersons; on becoming a gaffer; on becoming a lighting director; on how Norman Lear's shows were shot at KTTV in the 1970s

On what a lighting director is responsible for; on what makes a good lighting setup; on lighting and camera basics; on shooting on videotape and how that impacts lighting decisions; on lighting different skin tones for television in the 1970s

On lighting for several variety specials -- including several Smith-Hemion productions; on how he became a director of photography (DP); on his work as a DP on Three's Company, Silver Spoons, and Gloria; on going through union troubles with Universal and getting hired at ABC

On working on the 1984 Olympics in Los Angeles; on working with DP George Spiro Dibie on the pilot of Mr. Belvedere and winning his first Emmy, for the pilot; on the responsibilities of a director of photography; on being on set and observing John Alonzo's work on key scenes of the film Scarface; on what he learned from observing operas; on becoming DP for the NAACP Image Awards for many years and on his experiences working on the show; on calling cues

On what he learned from George Spiro Dibie on Mr. Belvedere; on a lighting mishap on the set of Moesha; on what he enjoys about working on pilots; on his work on Benson and on lighting Robert Guillaume properly

On working on 227 and working with Marla Gibbs and Regina King

On his work on the series run of Home Improvement; on winning seven Emmys for his work on Home Improvement

On his work on the first season of Moesha and on talks with the creators about how the pilot should look

On working on My Wife and Kids; on working with Mara Brock Akil to develop the look for the pilot of Girlfriends

On working on multiple shows at once and how his weekly schedule is divided for prep and production; on where he physically is during shooting; on the crew that he oversees and who has to be where when; on how involved he is with post-production and on working with a colorist

On a cinematographer and a director of photography being the same role; on advice to aspiring cinematographers; on cinematographers who have influenced or mentored him and on cinematographers he has mentored; on loving the creativity he gets to have with his work

On his work as director of photography on The Ranch and on the dark look of the show; on shooting The Ranch on a stage and using lighting techniques to fake an indoor set for the outdoors (and for different seasons and weather); on how working with Netflix compares to working with broadcast networks

On his work as director of photography on the initial episodes of the Netflix series The Upshaws -- requesting changes to the set and lighting different skin tones of cast members; on working with a colorist on The Ranch

On how he started working on Last Man Standing and on the show changing networks during its run; on his different camera concepts for Last Man Standing; on how the COVID-19 pandemic impacted production on Last Man Standing and The Conners

On his then-current work on The Conners and the challenges of shooting the live episodes of The Conners -- one shot during the COVID-19 pandemic

On how cinematography for television has changed since he first started in the business -- becoming more diverse; on his work as a mentor; on advice to aspiring cinematographers; on his signature style; on the value of oral histories; on his proudest career achievements - ASC lifetime achievement award and getting inducted into the Television Academy Hall of Fame; on how he would like to be remembered