Donald A. Morgan

Director of Photography


The Academy of Television Arts & Sciences Foundation Presents

02:26

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About
About this interview

In his four-hour interview, Donald A. Morgan talks about his early years as a musician and his interest in graphic design and architecture. He talks about first job in television -- in the mailroom of KTTV -- and how he subsequently got on staff in the lighting department and began working on several of Norman Lear's shows in the 1970s, including All in the Family, The Jeffersons, and One Day at a Time. He describes how he became a director of photography and talks about his work on Three's Company, Silver Spoons, and Gloria. Morgan also discusses his work lighting several variety specials, including Baryshnikov on Broadway, and awards shows, including the NAACP Image Awards. He then recounts working on several comedies from the 1980s to today, including Mr. Belvedere, Benson, 227, Home Improvement, Moesha, My Wife and Kids, and Girlfriends. He talks about the craft of cinematography, working on multiple shows at once, and how involved he is with post-production. He describes his then-recent work on The Ranch, The Conners, Last Man Standing, and The Upshaws, and how the COVID-19 pandemic impacted production. He concludes with remarks about how cinematography for television has changed since he started in the business, and offers advice to aspiring cinematographers. Adrienne Faillace conducted the interview on September 30, 2022 in North Hollywood, CA. 

All views expressed by interviewees are theirs alone and not necessarily those of the Television Academy.

"When I’m mentoring, I tell people to pick a movie that they like, turn the sound down, and sit there and watch...then you really see where the lighting is."

People Talking About ...
Highlights
Donald A. Morgan on working with DP George Spiro Dibie on the pilot of Mr. Belvedere and winning his first Emmy, for the pilot
01:36
Donald A. Morgan on his work on Benson and on lighting Robert Guillaume properly
04:31
Donald A. Morgan on lighting different skin tones for television in the 1970s
04:12
Donald A. Morgan on how he came to work on Home Improvement and on the challenges of lighting and shooting "Wilson"
11:41
Donald A. Morgan on becoming director of photography on The Ranch and on the dark look of the show
09:46
Donald A. Morgan on advice to aspiring cinematographers
00:36
Full Interview

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Chapter 1

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

Chapter 2

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

Chapter 3

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

Chapter 4

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
Shows

All in the Family

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Donald A. Morgan on lighting All in the Family and The Jeffersons
00:28

Baryshnikov on Broadway

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Donald A. Morgan on lighting for Baryshnikov on Broadway
00:58

Benson

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Donald A. Morgan on his work on Benson and on lighting Robert Guillaume properly
04:31

Conners, The

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Donald A. Morgan on his then-current work on The Conners
00:57
Donald A. Morgan on how the COVID-19 pandemic impacted production on Last Man Standing and The Conners
04:45
Donald A. Morgan on his then-current work on The Conners
03:29
Donald A. Morgan on the challenges of shooting the live episodes of The Conners -- one shot during the COVID-19 pandemic
01:36

Emmy Awards, The (Primetime and Daytime)

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Donald A. Morgan on attending his first Emmy ceremony and winning for the pilot of Mr. Belvedere
00:41

Girlfriends

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Donald A. Morgan on working with Mara Brock Akil to develop the look for the pilot of Girlfriends
02:18

Gloria

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Donald A. Morgan on his early work as a director of photography on Gloria, one of two shows he was working on at the time
01:55

Golden Girls, The

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Donald A. Morgan on his work on the pilot of The Golden Girls
01:18

Good Times

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Donald A. Morgan on lighting different skin tones for television in the 1970s -- on Good Times
00:37

Home Improvement

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Donald A. Morgan on starting to play with brightening up a scene when it's comedic on Home Improvement
00:48
Donald A. Morgan on how he came to work on Home Improvement and on the challenges of lighting and shooting "Wilson"
11:41
Donald A. Morgan on Tim Allen building a car each season on Home Improvement
00:38
Donald A. Morgan on working on the entire series run of Home Improvement
01:58
Donald A. Morgan on shooting the show within the show, Tool Time, on Home Improvement
01:05
Donald A. Morgan on winning seven Emmys for his work on Home Improvement
02:06

Jeffersons, The

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Donald A. Morgan on lighting All in the Family and The Jeffersons
00:28
Donald A. Morgan on lighting different skin tones for television in the 1970s -- on The Jeffersons
01:18

Last Man Standing

View Show Page
Donald A. Morgan on lighting cars, and a memorable setup on Last Man Standing
03:46
Donald A. Morgan on how he started working on Last Man Standing
02:56
Donald A. Morgan on Last Man Standing changing networks during its run
01:07
Donald A. Morgan on his different camera concepts for Last Man Standing
02:41
Donald A. Morgan on how the COVID-19 pandemic impacted production on Last Man Standing and The Conners
04:45

Moesha

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Donald A. Morgan on a lighting mishap on the set of Moesha
03:24
Donald A. Morgan on his work on the first season of Moesha and on talks with the creators about how the pilot should look
07:06

Mr. Belvedere

View Show Page
Donald A. Morgan on working with DP George Spiro Dibie on the pilot of Mr. Belvedere and winning his first Emmy, for the pilot
01:36
Donald A. Morgan on what he learned from George Spiro Dibie on Mr. Belvedere
05:51

My Wife and Kids

View Show Page
Donald A. Morgan on working on My Wife and Kids and shooting on location for the show
09:41

NAACP Image Awards

View Show Page
Donald A. Morgan on becoming DP for the NAACP Image Awards for many years and on his experiences working on the show
07:07

One Day at a Time (1975-84)

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Donald A. Morgan on lighting different skin tones for television in the 1970s -- on One Day at a Time
01:21

Ranch, The

View Show Page
Donald A. Morgan on becoming director of photography on The Ranch and on the dark look of the show
09:46
Donald A. Morgan 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)
05:18
Donald A. Morgan on working with Netflix on The Ranch and how working with Netflix compared to working with broadcast networks
05:51
Donald A. Morgan on working with a colorist on The Ranch
04:00

Silver Spoons

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Donald A. Morgan on how he became a director of photography
04:17

Three's Company

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Donald A. Morgan on how he became a director of photography
04:53

Upshaws, The

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Donald A. Morgan 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
03:52

227

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Donald A. Morgan on his work on 227
03:55
Topics

Advice

View Topic
Donald A. Morgan on advice to aspiring cinematographers
00:36

COVID-19 Pandemic

View Topic
Donald A. Morgan on how the COVID-19 pandemic impacted production on Last Man Standing and The Conners
04:45
Donald A. Morgan on the challenges of shooting the live episodes of The Conners -- one shot during the COVID-19 pandemic
01:36

Creative Influences and Inspiration

View Topic
Donald A. Morgan on cinematographers who have influenced or mentored him and on cinematographers he has mentored
02:41

Emmy Awards

View Topic
Donald A. Morgan on winning his first Emmy, for the pilot of Mr. Belvedere
00:41

First Big Break

View Topic
Donald A. Morgan on his first job in television -- in the mailroom of KTTV -- and on how he became interested in lighting
06:30

Health and Medicine

View Topic
Donald A. Morgan on how the COVID-19 pandemic impacted production on Last Man Standing and The Conners
04:45
Donald A. Morgan on the challenges of shooting the live episodes of The Conners -- one shot during the COVID-19 pandemic
01:36

Historic Events and Social Change

View Topic
Donald A. Morgan on lighting different skin tones for television in the 1970s
04:12
Donald A. Morgan on his work on Benson and on lighting Robert Guillaume properly
04:31
Donald A. Morgan 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
03:52
Donald A. Morgan on how the COVID-19 pandemic impacted production on Last Man Standing and The Conners
04:45
Donald A. Morgan on the challenges of shooting the live episodes of The Conners -- one shot during the COVID-19 pandemic
01:36
Donald A. Morgan on how cinematography for television has changed since he first started in the business -- becoming more diverse
00:39

Olympic Games

View Topic
Donald A. Morgan on working as a "marathon man" during the 1984 Olympics in Los Angeles
02:27

Pivotal Career Moments

View Topic
Donald A. Morgan on his first job in television -- in the mailroom of KTTV -- and on how he became interested in lighting
06:30
Donald A. Morgan on cinematographers who have influenced or mentored him and on cinematographers he has mentored
02:41

Representation on Television

View Topic
Donald A. Morgan on lighting different skin tones for television in the 1970s
04:12
Donald A. Morgan on his work on Benson and on lighting Robert Guillaume properly
04:31
Donald A. Morgan 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
03:52
Donald A. Morgan on how cinematography for television has changed since he first started in the business -- becoming more diverse
00:39

Sports

View Topic
Donald A. Morgan on working as a "marathon man" during the 1984 Olympics in Los Angeles
02:27

Technological Innovation

View Topic
Donald A. Morgan on how he came to work on Home Improvement and on the challenges of lighting and shooting "Wilson"
11:41
Donald A. Morgan on how much technology for cameras and lighting had changed from the 1970s to the 2000s
04:11
Donald A. Morgan on his innovations in lighting for the Netflix show The Ranch
09:46

Television Industry

View Topic
Donald A. Morgan on advice to aspiring cinematographers
00:36

Underrepresented Voices

View Topic
Donald A. Morgan on lighting different skin tones for television in the 1970s
04:12
Donald A. Morgan on his work on Benson and on lighting Robert Guillaume properly
04:31
Donald A. Morgan 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
03:52
Donald A. Morgan on how cinematography for television has changed since he first started in the business -- becoming more diverse
00:39

Women

View Topic
Donald A. Morgan on how cinematography for television has changed since he first started in the business -- becoming more diverse
00:39
Professions

Cinematographer

View Profession
Donald A. Morgan on how he became a director of photography
04:53
Donald A. Morgan on the responsibilities of a director of photography
06:22
Donald A. Morgan on calling cues
02:10
Donald A. Morgan on lighting cars, and a memorable setup on Last Man Standing
03:46
Donald A. Morgan on working with a fifth camera, often a jib
02:04
Donald A. Morgan on working on multiple shows at once and how his weekly schedule is divided for prep and production
09:24
Donald A. Morgan on where he physically is during shooting
01:19
Donald A. Morgan on the crew that he oversees and who has to be where when
05:46
Donald A. Morgan on how involved he is with post-production and on working with a colorist
03:20
Donald A. Morgan on advice to aspiring cinematographers
00:36
Donald A. Morgan on cinematographers who have influenced or mentored him and on cinematographers he has mentored
02:41
Donald A. Morgan on loving the creativity he gets to have with his work
02:19
Donald A. Morgan on how cinematography for television has changed since he first started in the business
01:06
Donald A. Morgan on his work as a mentor
02:08
Donald A. Morgan on advice to aspiring cinematographers
00:37
Donald A. Morgan on his signature style
01:31

Lighting Designer

View Profession
Donald A. Morgan on becoming a gaffer/electrician/lighting designer
01:14

Lighting Director

View Profession
Donald A. Morgan on becoming a lighting director under Tommy Schamp's tutelage on Another Day
01:15
Donald A. Morgan on what a lighting director is responsible for
01:40
Donald A. Morgan on what makes a good lighting setup
01:46
Donald A. Morgan on lighting and camera basics - differences between a pedastal and dolly setup
06:10
Donald A. Morgan on shooting on videotape and how that impacts lighting decisions
02:02
Donald A. Morgan on lighting different skin tones for television in the 1970s
04:12
Donald A. Morgan on learning from film cinematographers on films that shot on the KTTV lot during summers
03:00

Production Professionals

View Profession
Donald A. Morgan on becoming a lighting director under Tommy Schamp's tutelage on Another Day
01:15
Donald A. Morgan on what a lighting director is responsible for
01:40
Donald A. Morgan on what makes a good lighting setup
01:46
Donald A. Morgan on lighting and camera basics - differences between a pedastal and dolly setup
06:10
Donald A. Morgan on shooting on videotape and how that impacts lighting decisions
02:02
Donald A. Morgan on lighting different skin tones for television in the 1970s
04:12
Donald A. Morgan on learning from film cinematographers on films that shot on the KTTV lot during summers
03:00
Donald A. Morgan on how he became a director of photography
04:53
Donald A. Morgan on the responsibilities of a director of photography
06:22
Donald A. Morgan on calling cues
02:10
Donald A. Morgan on becoming a gaffer/electrician/lighting designer
01:14
Donald A. Morgan on lighting cars, and a memorable setup on Last Man Standing
03:46
Donald A. Morgan on working with a fifth camera, often a jib
02:04
Donald A. Morgan on working on multiple shows at once and how his weekly schedule is divided for prep and production
09:24
Donald A. Morgan on where he physically is during shooting
01:19
Donald A. Morgan on the crew that he oversees and who has to be where when
05:46
Donald A. Morgan on how involved he is with post-production and on working with a colorist
03:20
Donald A. Morgan on a cinematographer and a director of photography being the same role
02:22
Donald A. Morgan on a cinematographer and a director of photography being the same role
02:22
Donald A. Morgan on advice to aspiring cinematographers
00:36
Donald A. Morgan on cinematographers who have influenced or mentored him and on cinematographers he has mentored
02:41
Donald A. Morgan on loving the creativity he gets to have with his work
02:19
Donald A. Morgan on how cinematography for television has changed since he first started in the business
01:06
Donald A. Morgan on his work as a mentor
02:08
Donald A. Morgan on advice to aspiring cinematographers
00:37
Donald A. Morgan on his signature style
01:31
Genres

Awards Shows

View Genre
Donald A. Morgan on winning his first Emmy, for the pilot of Mr. Belvedere
00:41
Donald A. Morgan on becoming director of photography for the NAACP Image Awards for many years and on his experiences working on the show
07:07

Comedy Series

View Genre
Donald A. Morgan on lighting All in the Family and The Jeffersons
00:28
Donald A. Morgan on lighting different skin tones for television in the 1970s
04:12
Donald A. Morgan on working with director of photography George Spiro Dibie on the pilot of Mr. Belvedere and winning his first Emmy, for the pilot
01:36
Donald A. Morgan on what he learned from George Spiro Dibie on Mr. Belvedere
05:51
Donald A. Morgan on a lighting mishap on the set of Moesha
03:24
Donald A. Morgan on his then-current work on The Conners
00:57
Donald A. Morgan on his work on Benson and on lighting Robert Guillaume properly
04:31
Donald A. Morgan on his work on the entire series run of Home Improvement
24:14
Donald A. Morgan on his work on the first season of Moesha and on talks with the creators about how the pilot should look
07:06
Donald A. Morgan on working on My Wife and Kids and shooting on location for the show
09:41
Donald A. Morgan on working with Mara Brock Akil to develop the look for the pilot of Girlfriends
02:18
Donald A. Morgan on his work as director of photography on The Ranch
20:57
Donald A. Morgan 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
03:52
Donald A. Morgan on working on Last Man Standing and The Conners-- pre and post-COVID-19 pandemic
16:39

Music Shows & Variety Shows/Specials

View Genre
Donald A. Morgan on lighting for several variety specials -- including several Smith-Hemion productions
04:55
People

Allen Daviau

View Person Page
Donald A. Morgan on learning from cinematographer Allen Daviau as he observed Daviau's work on Amazing Stories
00:41

Ann-Margret

View Person Page
Donald A. Morgan on Shirley MacLaine's and Ann-Margret's lighting preferences for TV specials
00:39

Damon Wayans

View Person Page
Donald A. Morgan on working on My Wife and Kids and with co-creators Damon Wayans and Don Reo
03:04

Don Reo

View Person Page
Donald A. Morgan on working on My Wife and Kids and with co-creators Damon Wayans and Don Reo
03:04
Donald A. Morgan on his work as director of photography on The Ranch and on how dark the look of the show was
06:08

Elizabeth Taylor

View Person Page
Donald A. Morgan on learning lighting techniques on a show he did with Elizabeth Taylor and applying them to his work on The Ranch
03:37

George Schamp

View Person Page
Donald A. Morgan on learning lighting techniques from George and Tommy Schamp early in his career
01:02

George Spiro Dibie

View Interview Page
Donald A. Morgan on working with director of photography George Spiro Dibie on the pilot of Mr. Belvedere
01:36
Donald A. Morgan on what he learned from George Spiro Dibie on Mr. Belvedere
05:51

Gilbert Hemsley

View Person Page
Donald A. Morgan on lighting techniques he learned from observing operas and how they impacted his choices for lighting awards shows
03:49

Hector Elizondo

View Interview Page
Donald A. Morgan on working with Hector Elizondo on Last Man Standing
00:23

Jack Shea

View Interview Page
Donald A. Morgan on working with director Jack Shea on Silver Spoons
03:04

Jim Patterson

View Person Page
Donald A. Morgan on his work as director of photography on The Ranch and on how dark the look of the show was
06:08

John A. Alonzo

View Person Page
Donald A. Morgan on learning from film cinematographers on films that shot on the KTTV lot during summers, including John Alonzo
01:32
Donald A. Morgan on being on set and observing John Alonzo's work on key scenes of the film Scarface
01:51

John Rook

View Person Page
Donald A. Morgan on learning from Smith-Hemion lighting consultant, John Rook
02:19

John Shaffner

View Interview Page
Donald A. Morgan on working with production designer John Shaffner to achieve the dark look on The Ranch
01:01

Kaitlyn Dever

View Person Page
Donald A. Morgan on working with Kaitlyn Dever on Last Man Standing
00:25

Mara Brock Akil

View Person Page
Donald A. Morgan on working with Mara Brock Akil to develop the look for the pilot of Girlfriends
02:18

Marla Gibbs

View Interview Page
Donald A. Morgan on his work on 227 -- and on working with Marla Gibbs on several shows
01:00

Nancy Travis

View Person Page
Donald A. Morgan on working with Nancy Travis on Last Man Standing
00:12

Norman Lear

View Interview Page
Donald A. Morgan on how Norman Lear's shows were shot at KTTV in the 1970s
04:31

Prince

View Person Page
Donald A. Morgan on a lighting setup for Prince on the NAACP Image Awards
03:14

Regina King

View Person Page
Donald A. Morgan on his work on 227 -- and on working with Regina King
00:32

Robert Guillaume

View Interview Page
Donald A. Morgan on his work on Benson and on lighting Robert Guillaume properly
04:30

Shirley MacLaine

View Person Page
Donald A. Morgan on Shirley MacLaine's and Ann-Margret's lighting preferences for TV specials
00:39

Suzanne de Passe

View Person Page
Donald A. Morgan on Suzanne de Passe and Vic Bulluck asking him to work on the NAACP Image Awards
07:07

Tim Allen

View Person Page
Donald A. Morgan on winning seven Emmys for his work on Home Improvement
02:06
Donald A. Morgan on how he started working on Last Man Standing and how the pandemic impacted production
01:21

Tommy Schamp

View Person Page
Donald A. Morgan on learning lighting techniques from George and Tommy Schamp early in his career
01:02
Donald A. Morgan on becoming a lighting director under Tommy Schamp's tutelage on Another Day
01:15
Donald A. Morgan on how he became a director of photography with the help of Tommy Schamp
09:13

Vicangelo Bulluck

View Person Page
Donald A. Morgan on Suzanne de Passe and Vic Bulluck asking him to work on the NAACP Image Awards
07:07

Walter Glover

View Person Page
Donald A. Morgan on Walt Glover helping him become a lighting director
01:41

All Interviews

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