Cinematographer

John Bartley on the importance of the camera operator (and other camera crew)

John Bartley on the responsibilities of a Director of Photography

Wade Bingham on the job of a camera operator/cinematographer on a news program or documentary series

Haskell Boggs on new filming techniques that came about during the run of Bonanza

Haskell Boggs on learning to deal with the smaller sized television screen during his time was director of photography on Bonanza

Haskell Boggs on acting as director of photography for the Bonanza episode "Bushwhacked," and on the importance of a director of photography knowing the script

Haskell Boggs on dealing with the weather and daylight when working on location on Bonanza

Haskell Boggs on how cinematography techniques changed during his time on Bonanza and moving to the Warner Bros. set

Haskell Boggs on the differences between shooting for television and shooting features and on working with Bing Crosby and Bob Hope

Haskell Boggs on advice to aspiring directors of photography

Thomas Del Ruth on his style of communication and his early projects as a cameraman 

Thomas Del Ruth on what a director of photography does and working with directors

Thomas Del Ruth on acting as director of photography on various made-for-television movies and on the technical aspects of the job

Thomas Del Ruth on his visual style 

Thomas Del Ruth on the most important developments in television cinematography 

Thomas Del Ruth on his advice to an aspiring cinematographer 

George Spiro Dibie on making suggestions for D.P.s on various shows

George Spiro Dibie on telling actors to show audience 3/4 and not open up entirely - different from stage acting

George Spiro Dibie on the challenges of lighting women

George Spiro Dibie on the difference between cinematographer and director of photography

George Spiro Dibie on how being a gaffer helps cinematographers

Gerald Perry Finnerman on dealing with the color scheme on Star Trek, and on the visual style of the show

Gerald Perry Finnerman on making the Enterprise lurch forward or stop short on Star Trek, and on the challenges of lighting the interior

Gerald Perry Finnerman on the equipment used to shoot Star Trek, and on the special effects of the show

Gerald Perry Finnerman on dealing with the budgets of Star Trek as the cinematographer

Gerald Perry Finnerman on being director of photography for Police Woman, being signed to work at Columbia Television, and working with different types of film stock

Gerald Perry Finnerman on the challenges of doing cinematography for made-for-television movies

Gerald Perry Finnerman on filming the black and white Moonlighting episode "The Dream Sequence Always Rings Twice"

Gerald Perry Finnerman on the cinematographer's relationship with the director, and on what he looks for in a gaffer

Donald A. Morgan on how he became a director of photography

Donald A. Morgan on the responsibilities of a director of photography

Donald A. Morgan on calling cues

Donald A. Morgan on lighting cars, and a memorable setup on Last Man Standing

Donald A. Morgan on working with a fifth camera, often a jib

Donald A. Morgan on working on multiple shows at once and how his weekly schedule is divided for prep and production

Donald A. Morgan on where he physically is during shooting

Donald A. Morgan on the crew that he oversees and who has to be where when

Donald A. Morgan on how involved he is with post-production and on working with a colorist

Donald A. Morgan on advice to aspiring cinematographers

Donald A. Morgan on cinematographers who have influenced or mentored him and on cinematographers he has mentored

Donald A. Morgan on loving the creativity he gets to have with his work

Donald A. Morgan on how cinematography for television has changed since he first started in the business

Donald A. Morgan on his work as a mentor

Donald A. Morgan on advice to aspiring cinematographers

Donald A. Morgan on his signature style

Joseph M. Wilcots on becoming the first Black member of the cinematographers union

Joseph M. Wilcots on the cinematographers union not being quick to welcome Black members

Joseph M. Wilcots on the challenges of lighting Roots

Joseph M. Wilcots on depth of field and selective focus when shooting; on the use of filters

Joseph M. Wilcots on technological innovations during his career and on working with a crew

Joseph M. Wilcots on advice to an aspiring cinematographer

Ben Wolf on the role of a cinematographer in television

Ben Wolf on how the television cinematographer works with the lighting director

Ben Wolf on the television cinematographer working with the director

Ben Wolf on cinematographers working with assistant directors and stage managers

Ben Wolf on cinematographers establishing a look for a show with lighting directors

Ben Wolf on shot composition 

Ben Wolf on advice to someone starting out in the cinematography business

Ben Wolf on how cinematography has changed

Ben Wolf on then-recent technological developments for cameras and then-current cinematography