Born: 1 December 1901 [or 1900], Cleveland, Ohio, USA.

Died: 14 June 1970, Los Angeles, Calif., USA.

Education: University of Southern California.

Career: 'I managed to land a job at the age of 15 with the Triangle Film Corporation/Kay-Bee; they needed an assistant cameraman, and of course I knew nothing about it, but they gave me a job anyway. I got twelve dollars a week. I carried a camera and held a slate. We loaded the film magazines and the still camera and carried all of the equipment to the set. My first job as an assistant was on Gloria Swanson's first dramatic film. When the company failed, I went over to Universal, and worked on some of their serials. After a year they let me become full photographer, on a one-reel Bert Roach comedy, then I did more comedies and more serials, while working alternately with von Stroheim on his big pictures.' [From 'Hollywood Cameramen' by Charles Higham, 1970.]

Worked for prod Samuel Goldwyn [1922-23], MGM [1924-43] - where he ph 20 films with Greta Garbo [*] - and Universal. Illness and a contract dispute kept him inactive during the mid-1940s. Was member and president [1961-63] of the ASC. His brother Jack was a theatre and tv director.

Awards: 'Oscar' AA nom [1929/30] for 'Anna Christie'; 'Oscar' AA [1948; b&w] for 'The Naked City'; 'Oscar' AA nom [1958; color] for 'Cat on a Hot Tin Roof'; 'Oscar' AA nom [1963; color; shared] for 'How the West Was Won'.

'From Death Valley with von Stroheim to Doll Valley with Jacqueline Susann - an obvious time-rhyme but in no way symbolic. Daniels' checklist certainly has its share of dull patches, but the number of interesting and worthwhile subjects is well above the professional average. His career is bestrode by two directors - von Stroheim and Anthony Mann; and two players - Garbo and Sinatra. That the von Stroheim films are pictorially the most satisfying is unarguably thanks primarily to their director who, apart from the question of talent, held out tenaciously for marathon shooting schedules, thus allowing Daniels and Co. time to programme all the movement and clutter. His contribution to the Mann pictures seems more identifiable, as indicated by a comparison between 'Winchester '73' and another Mann Western made the same year, 'Devil's Doorway' [ph by John Alton, used frequently by Mann in the 40's]. Alton/Mann go in for shadows, extravagant angles, night-time imagery. With Daniels/Mann, it always seems to be high noon, the sun shining and everything plain, simple and very rugged; the actual night scenes in 'Winchester '73' hold no particularly sinister overtones. As to Garbo, Daniels himself has said he made no attempt at consistency in photographing her, filming each role according to its particular necessities. Reading between the lines, it's a good guess that she liked to work with Daniels less because of his technical excellence than because of his personal qualities of sympathy and tact. Whether these were also the qualities that recommended him to Frank Sinatra is an open question, but he certainly provided the sort of bright, glittery visuals appropriate for the star to move around in.' [Bob Baker in 'Film Dope' #9, April 1976.]

William H. Daniels gained considerable stature as a creative artist, even though he began his career by working well within the tradition of the Hollywood silents. In 1918, Daniels began working as cinematographer at Universal Studio, making serials and one-reel comedies. During the early 1920s he worked with Erich von Stroheim, whose obsession with detail is a Hollywood legend and who may very well have instilled in Daniels [although on a healthier scale] the eye for detail that was to become his own hallmark. The demands that von Stroheim made upon Daniels's lighting and photographic skills were tremendous, given the time: outdoor shots in Death Valley, shots taken deep in a gold mine [according to Daniels, in 132-degree heat] or a junk-man's cabin. Many of the shots over which Daniels took such great pains were cut out of the final version of 'Greed', but the discipline of shooting them left its mark on Daniels, who was about to face his greatest challenge - filming Greta Garbo.

Daniels achieved a major triumph in photographing Garbo in 'Flesh and the Devil'. This cinematographer elegantly tailored his style, which called for the heavy use of gauzes and filters, to capture the sophisticated beauty of Garbo. He often lit Garbo with sidelights in half-tone, creating a chiaroscuro effect in which one half of the actress's face is lit, the other in shadows. However, unlike the way Lee Garmes consistently lit Dietrich, Daniels varied his lighting - often showing great imagination by improvising effects that can only be called romantic, in the broadest sense. These effects often lend the subtlest detail, and Daniels felt that the invention of details was his contribution to the director's vision.

It is no surprise that of the sound films made by Garbo, the most significant were photographed by William Daniels. 'Queen Christina' is a masterpiece. This film includes one rare moment of pure cinema: the famous scene showing Garbo moving around the room in the inn where she first knew love. Daniels freely admitted that the realistic elements were added under the influence of von Stroheim - the sources of light placed so as to seem as if the fire were the only source of light. The cinematographer, however, failed to acknowledge that the lighting and filming have an expressive side, which transcends the actual. In this scene, Daniels achieves the goal of conveying the drama through light as the director does through speech and action. 'Ninotchka', for all its shallowness, is a flawlessly photographed and lit apotheosis of cinematic Art Nouveau. It is these films' magical mixture of Daniels and Garbo, of the actual and the glamorous, that represent the best of what is quintessentially Hollywood. It would be wrong to perceive Daniels merely as the best glamour director of the most glamorous of studios - MGM. He never lost touch with the deeper dramatic, psychological significance of a shot.

It is difficult after these films with Garbo to see Daniels's career as anything other than a decline. However, he did achieve some successes. He won the Academy Award for 'The Naked City', an acknowledgment of the realistic side of his talent. Nevertheless, a romantic mixture of life and daydreams remained his forte. 'Pat and Mike' is a sun-filled world of tennis courts and golf courses. Katharine Hepburn was never photographed in any other film better than she is in this 1952 romantic comedy. In 'Valley of the Dolls', mediocre as it is otherwise, the face of Barbara Parkins, especially in the scenes set in New England, calls forth something vaguely reminiscent of the old Daniels-Garbo magic. Daniels combined romanticism with realism; and, like all great portraitists, his ultimate achievement was only as good as the face and personality he rendered. [From article by Rodney Farnsworth on the filmreference.com website.]

William Daniels: 'I didn't create a 'Garbo face'. I just did portraits of her I would have done for any star. My lighting of her was determined by the requirements of a scene. I didn't, as some say I did, keep one side of the face light and the other dark. But I did always try to make the camera peer into the eyes, to see what was there. Garbo had natural long eyelashes and in certain moods I could throw the light down from quite high, and show the shadows of the eyelashes come down on the cheeks; it became a sort of trade mark with her. Her eyelashes were real; after I did that many stars got false ones and had their cameramen do the same lighting for them, but it wasn't quite the same thing.' [From 'Hollywood Cameramen' by Charles Higham, 1970.]

Click thumbnails for full-size image

1920        Foolish Wives [Erich von Stroheim] b&w; 14 reels; cph: Ben Reynolds; filmed July 1920-June 1921; prod Universal Film

                    Manufacturing Company

1923        Merry-Go-Round [Rupert Julian (replaced Erich von Stroheim, who started film)] b&w; 10 reels; cph: Ben Reynolds &

                    Charles Kaufman; prod Universal Pictures

1924        Greed [Erich von Stroheim] b&w; 10 reels; cph: Ben Reynolds; filmed January-October; the initial 42-reel film was

                    reduced to 24 by von Stroheim, then 18 by Rex Ingram, then 10 by June Mathis; re-issue in 1999 (239m); prod

                    Metro-Goldwyn Pictures Corporation (MGPC)

1924        Helen's Babies [William A. Seiter] b&w; 6 reels; addph: Glen MacWilliams; prod Principal Pictures Corporation

1924        Women and Gold [James P. Hogan] b&w; 6 reels; prod Gotham Productions

1924        The Merry Widow [Erich von Stroheim] b&w; 10 reels; co-uncred cph; ph: Oliver T. Marsh; prod MGPC

1925        MGM Studio Tour [?] b&w; short/?m; made for MGM stockholders

1925        Dance Madness [Robert Z. Leonard] b&w; 7 reels; cph: John Arnold; prod MGM

1925        Torrent/Ibáñez' Torrent [Monta Bell] b&w; 7 reels; USA debut Greta Garbo; prod Cosmopolitan Pictures*

1926        Monte Carlo/Dreams of Monte Carlo [Christy Cabanne] b&w; 7 reels; prod MGM

1926        Money Talks [Archie Mayo] b&w; 6 reels; prod MGM

1926        The Boob/The Yokel [William A. Wellman] b&w; 6 reels; prod MGM

1926        Bardelys the Magnificent [King Vidor] b&w; prod MGM

1926        The Temptress [Fred Niblo (replaced Mauritz Stiller after 10 days)] b&w; cph: Gaetano Gaudio [with dir M. Stiller]; prod

                    Cosmopolitan Productions*

1926        Flesh and the Devil [Clarence Brown] b&w; prod MGM*

1926        Altars of Desire [Christy Cabanne] b&w; 7 reels; prod MGM

1927        Captain Salvation [John S. Robertson] b&w; prod Cosmopolitan Productions

1927        Tillie the Toiler [Hobart Henley] b&w; 7 reels; prod Cosmopolitan Productions

1927        On ze Boulevard [Harry Millarde] b&w; 6 reels; cph: André Barlatier; prod MGM

1927        Love/Anna Karenina [Edmund Goulding & (uncred) John Gilbert] b&w; film started in April with dir Dimitri Buchowetzki,

                    but the footage he dir is lost; version with music (1994); prod MGM*

1928        The Latest from Paris [Sam Wood] b&w; prod MGM

1928        Bringing Up Father [Jack Conway] b&w; 7 reels; prod MGM

1928        The Actress/Trelawny of the Wells [Sidney Franklin] b&w; 7 reels; prod MGM

1928        The Mysterious Lady [Fred Niblo] b&w; version with music (2002); prod MGM*

1928        A Woman of Affairs [Clarence Brown] b&w; silent & sound (efx + music) versions; prod MGM*

1928        Telling the World [Sam Wood] b&w; prod MGM

1928        Dream of Love [Fred Niblo] b&w; 6 reels; cph: Oliver T. Marsh; prod MGM

1928        A Lady of Chance [Robert Z. Leonard] b&w; cph: Peverell Marley; silent & sound versions; prod MGM

1928        Wild Orchids [Sidney Franklin] b&w; silent & sound (efx + music) versions; prod MGM*

1928        Queen Kelly [Erich von Stroheim & (uncred) Richard Boleslawski, Edmund Goulding, Irving Thalberg & Sam Wood] b&w;

                    8 reels; co-uncred cph; ph: Gordon Pollock & Paul Ivano; von Stroheim was removed before end of prod - his 11-reel

                    version was reduced to 8; restored in 1985 (101m); prod Gloria Swanson Pictures Corporation

1929        The Trial of Mary Dugan [Bayard Veiller] b&w; silent & sound versions; prod MGM

1929        The Last of Mrs. Cheyney [Sidney Franklin] b&w; silent & sound versions; prod MGM

1929        Wise Girls/Kempy [E. Mason Hopper] b&w; silent & sound versions; prod MGM

1929        The Kiss [Jacques Feyder] b&w; 7 reels; silent & sound (music) versions; prod MGM*

1929        Their Own Desire [E. Mason Hopper] b&w; 7 reels; silent & sound versions; prod MGM

1929        Anna Christie [Clarence Brown] b&w; silent & sound (Greta Garbo's first 'talkie') versions; also German (prod

                    July/August 1930; dir by Edgar G. Ulmer, but with Jacques Feyder on the credits) and Swedish (dir by Jacques Feyder)

                    language versions; prod MGM*

1930        Montana Moon [Malcolm St. Clair] b&w; silent & sound versions; prod MGM

1930        Strictly Unconventional [David Burton] b&w; 55m; cph: Oliver T. Marsh

1930        Le spectre vert [Jacques Feyder] b&w; French language version of 'The Unholy Night' (1929, Lionel Barrymore; ph: Ira

                    Morgan)

1930        Romance [Clarence Brown] b&w; silent & sound versions; prod MGM*

1930        Si l'empereur savait ça!/If the Emperor Only Knew That [Jacques Feyder] b&w; French language version of 'His

                    Glorious Night' (1929, Lionel Barrymore; ph: Percy Hilburn)

1930        Olympia [Jacques Feyder] b&w; German language version of 'His Glorious Night'

1930        The Great Meadow [Charles Brabin] b&w; cph: Clyde De Vinna

1930        Inspiration [Clarence Brown] b&w*

1931        Strangers May Kiss [George Fitzmaurice] b&w

1931        A Free Soul [Clarence Brown] b&w

1931        Susan Lenox (Her Fall and Rise)/Rising to Fame/The Rise of Helga [Robert Z. Leonard] b&w*

1931        Mata Hari [George Fitzmaurice] b&w*

1931        Lovers Courageous [Robert Z. Leonard] b&w

1931        Grand Hotel [Edmund Goulding] b&w*

1932        As You Desire Me [George Fitzmaurice] b&w*

1932        Skyscraper Souls [Edgar Selwyn] b&w

1932        Rasputin and the Empress/Rasputin, the Mad Monk [Richard Boleslawski & (uncred) Charles Brabin] b&w

1932        The White Sister [Victor Fleming] b&w; aph: Elmer Dyer

1933        The Stranger's Return [King Vidor] b&w

1933        Dinner at Eight [George Cukor] b&w

1933        Broadway to Hollywood/Ring Up the Curtain [Willard Mack & (retakes) Jules White] b&w-c; cph: Norbert Brodine

1933        Christopher Bean/Her Sweetheart, Christopher Bean/The Late Christopher Bean [Sam Wood] b&w

1933        Queen Christina [Rouben Mamoulian] b&w*

1934        The Barretts of Wimpole Street/Forbidden Alliance [Sidney Franklin] b&w

1934        The Painted Veil [Richard Boleslawski] b&w; background ph China (superv): George W. Hill*

1934        Naughty Marietta [W.S. Van Dyke & Robert Z. Leonard] b&w

1935        Anna Karenina [Clarence Brown] b&w*

1935        I Live My Life [W.S. Van Dyke] b&w; uncred cph; ph: George Folsey

1935        Rendezvous [William K. Howard & (uncred) Sam Wood] b&w; uncred cph: James Wong Howe

1935        Rose-Marie/Indian Love Call [W.S. Van Dyke] b&w

1935        Romeo and Juliet [George Cukor] b&w; sfx: Slavko Vorkapich

1936        Camille [George Cukor] b&w; cph: Karl Freund; also colorized version (1990)*

1937        Personal Property/The Man in Possession [W.S. Van Dyke] b&w

1937        Broadway Melody of 1938 [Roy Del Ruth] b&w; uncred cph: Ray June; montages: Slavko Vorkapich

1937        Double Wedding [Richard Thorpe] b&w; uncred cph: Harold Rosson & Joseph Ruttenberg

1937        The Last Gangster [Edward Ludwig] b&w; montages: Slavko Vorkapich

1937        Beg, Borrow or Steal [William Thiele] b&w

1938        Marie Antoinette [W.S. Van Dyke] b&w; uncred cph: George Folsey & Leonard Smith; montages: Slavko Vorkapich

1938        The Shopworn Angel [H.C. Potter] b&w; uncred cph; ph: Joseph Ruttenberg; montages: Slavko Vorkapich

1938        Three Loves Has Nancy [Richard Thorpe] b&w

1938        Dramatic School [Robert B. Sinclair] b&w; uncred cph: Joseph Ruttenberg

1938        Idiot's Delight [Clarence Brown] b&w; montages: Slavko Vorkapich & John Hoffman

1939        Stronger Than Desire [Leslie Fenton] b&w; montages: Peter Ballbusch

1939        Ninotchka [Ernst Lubitsch] b&w; also colorized version (1990)*

1939        Another Thin Man/Return of the Thin Man [W.S. Van Dyke] b&w; cph: Oliver T. Marsh; uncred ph (last half): John

                    F. Seitz; 3rd film in 6-part 'The Thin Man'-series (MGM, 1934-47)

1939        The Shop Around the Corner [Ernst Lubitsch] b&w

1939        New Moon/Lover Come Back [Robert Z. Leonard & (uncred; was replaced by R.Z. Leonard after 2 weeks) W.S. Van

                    Dyke] b&w

1940        The Mortal Storm [Frank Borzage] b&w; uncred cph: Lloyd Knechtel & Leonard Smith

1940        So Ends Our Night [John Cromwell] b&w

1940        Back Street [Robert Stevenson] b&w

1941        Love Crazy [Jack Conway] b&w; uncred cph; ph: Ray June

1941        They Met in Bombay [Clarence Brown] b&w

1941        Honky Tonk [Jack Conway] b&w; uncred cph (replaced in late June due to illness); ph: Harold Rosson

1941        Shadow of the Thin Man [W.S. Van Dyke] b&w; 4th film in 6-part 'The Thin Man'-series (MGM, 1934-47)

1941        Design for Scandal [Norman Taurog] b&w; cph Leonard Smith

1941        Dr. Kildare's Victory/The Doctor and the Debutante [W.S. Van Dyke] b&w; 9th film in 15-part 'Dr. Kildare/Dr.

                    Gillespie'-series (MGM, 1938-47)

1942        For Me and My Gal/For Me and My Girl [Busby Berkeley] b&w

1942        Keeper of the Flame [George Cukor] b&w; sfx ph: Warren Newcombe

1943        Girl Crazy [Norman Taurog & Busby Berkeley] b&w; cph: Robert Planck; after dir the mus number 'I Got Rhythm', dir B.

                    Berkeley was dismissed; the prod was shut down for a month and resumed with dir N. Taurog

1943        The Heavenly Body [Alexander Hall & (uncred dir last 3 weeks) Vincente Minnelli] b&w; uncred cph; ph: Robert Planck

1943        The Canterville Ghost [Jules Dassin & (uncred) Norman Z. McLeod] b&w; uncred cph; ph: Robert Planck; sfx ph: Lester

                    White; dir N.Z. McLeod was replaced after 38 days by J. Dassin and ph R. Planck by W. Daniels

1944        Maisie Goes to Reno/You Can't Do That to Me [Harry Beaumont] b&w; uncred cph; ph: Robert Planck; 8th film in

                    9-part 'Maisie'-series (MGM, 1939-46)

1946        Sure Cures [David Barclay = Dave O'Brien] b&w; doc/11m

1946        Lured/Personal Column [Douglas Sirk] b&w

1947        Diamond Demon [Dave O'Brien] c; doc/9m

1947        Brute Force [Jules Dassin] b&w; spph: David S. Horsley

1947        The Naked City [Jules Dassin] b&w

1948        For the Love of Mary [Frederick De Cordova] b&w

1948        Family Honeymoon [Claude Binyon] b&w

1948        The Life of Riley [Irving Brecher] b&w

1948        Illegal Entry [Frederick De Cordova] b&w

1949        The Gal Who Took the West [Frederick De Cordova] c

1949        Abandoned/Abandoned Woman [Joseph M. Newman] b&w

1949        La duchesse de Langeais/Lover and Friend/The Wicked Duchess [Max Ophüls] this prod with Greta Garbo came as

                    far as shooting tests; the 1st test was ph on 5 May by Joseph Valentine, who died a couple of weeks later; the 2nd test

                    was ph on 25 May by James Wong Howe and the 3rd test was ph by W. Daniels, also on 25 May*

1949        Three Came Home [Jean Negulesco] b&w; uncred cph (?); ph: Milton Krasner; 2uc (Borneo): Charles G. Clarke; spec

                    pfx: Fred Sersen

1949        Woman in Hiding [Michael Gordon] b&w; spec pfx: David S. Horsley

1949        Deported [Robert Siodmak] b&w

1950        Winchester '73 [Anthony Mann] b&w

1950        Harvey [Henry Koster] b&w

1950        Bright Victory/Lights Out [Mark Robson] b&w

1950        Thunder on the Hill/Bonaventure [Douglas Sirk] b&w

1951        The Lady Pays Off [Douglas Sirk] b&w; spph: David S. Horsley

1951        When in Rome [Clarence Brown] b&w

1951        Glory Alley [Raoul Walsh] b&w

1952        Pat and Mike [George Cukor] b&w; sfx ph: Warren Newcombe

1952        Plymouth Adventure [Clarence Brown] c; miniature ph: Max Fabian

1952        Never Wave at a WAC/The Private Wore Skirts [Norman Z. McLeod] b&w

1952        Thunder Bay [Anthony Mann] c

1953        Forbidden [Rudolph Maté] b&w

1953        War Arrow [George Sherman] c

1953        The Glenn Miller Story [Anthony Mann] c

1953        The Far Country [Anthony Mann] c

1954        Strategic Air Command [Anthony Mann] vv/c; aph: Tom Tutwiler; spec pfx: John P. Fulton; process ph: Farciot Edouart

1954        Six Bridges to Cross [Joseph Pevney] b&w

1954        Foxfire [Joseph Pevney] c

1954        The Shrike [José Ferrer] b&w

1954        The Girl Rush [Robert Pirosh] vv/c; spec pfx: John P. Fulton; process ph: Farciot Edouart

1955        Away All Boats [Joseph Pevney & (spec action scenes) James C. Havens] vv/c; spph: Clifford Stine

1955        The Benny Goodman Story [Valentine Davies] c

1955        The Unguarded Moment/The Gentle Web [Harry Keller] c; spph: Clifford Stine

1956        My Man Godfrey [Henry Koster] cs/c; spph: Clifford Stine

1956        Istanbul [Joseph Pevney] cs/c; spph: Clifford Stine

1956        Interlude [Douglas Sirk] cs/c

1956        Night Passage [James Neilson (replaced Anthony Mann)] tr/c; spph: Clifford Stine

1957        Voice in the Mirror [Harry Keller] cs/b&w; spph: Clifford Stine

1958        Cat on a Hot Tin Roof [Richard Brooks] c

1958        Some Came Running [Vincente Minnelli] cs/c

1958        A Stranger in My Arms/And Ride a Tiger [Helmut Käutner] cs/b&w; spph: Clifford Stine

1958        A Hole in the Head [Frank Capra] p/c; first film 'Filmed in Panavision' (with high-speed Panatar lens)

1959        Never So Few/Campaign Burma [John Sturges] p/c

1959        Can-Can [Walter Lang] tao/c

1959        All the Fine Young Cannibals [Michael Anderson] cs (lenses by Panavision)/c

1960        Ocean's Eleven [Lewis Milestone] p/c

1961        Come September [Robert Mulligan] cs/c

1961        How the West Was Won [seg 'The Plains' dir by Henry Hathaway] cr/c; 5 seg + transitional seq; other ph: Milton

                    Krasner, Charles Lang Jr. & Joseph LaShelle; 2uc: Harold Wellman; spec vfx: A. Arnold Gillespie & Robert R. Hoag

1962        Something's Got to Give [George Cukor] cs/c; unfinished; cph: Franz Planer, Charles Lang Jr. & Leo Tover; 37m were

                    released in 2001 as part of the tv-doc 'Marilyn Monroe: The Final Days'

1962        Jumbo/Billy Rose's Jumbo [Charles Walters] p/c; spec vfx: A. Arnold Gillespie, Robert R. Hoag & J. McMillan Johnson

1963        Dokonjo monogatari - zeni no odori/Money Talks/The Money Dance [Kon Ichikawa] Daieiscope/c; cph: Kazuo

                    Miyagawa

1963        Come Blow Your Horn [Bud Yorkin] p/c; spec pfx: Paul K. Lerpae

1963        The Prize [Mark Robson] p/c; spec vfx: A. Arnold Gillespie, Robert R. Hoag & J. McMillan Johnson

1964        Robin and the 7 Hoods [Gordon Douglas] p/c; + assoc prod

1965        Von Ryan's Express [Mark Robson] cs/c; 2uc: Harold Lipstein; spec pfx: L.B. Abbott & Emil Kosa Jr.

1965        Marriage on the Rocks [Jack Donohue] p/c; + prod

1966        Assault on a Queen [Jack Donohue] p/c; + assoc prod; uwph: Owen Marsh; spec pfx: Lawrence W. Butler & Paul K.

                    Lerpae; process ph: Farciot Edouart

1966        In Like Flint [Gordon Douglas] cs/c; spec pfx: L.B. Abbott, Emil Kosa Jr. & Art Cruickshank

1967        Valley of the Dolls [Mark Robson] p/c

1968        The Impossible Years [Michael Gordon] p/c

1968        Marlowe [Paul Bogart] c; spec vfx: J. McMillan Johnson & Carroll L. Shepphird

1969        The Maltese Bippy [Norman Panama] p/c

1970        Move [Stuart Rosenberg] p/c; spec pfx: L.B. Abbott & Art Cruickshank

1957        The Trail to Christmas [James Stewart] tvm/30m; ep 'General Electric Theater/G.E. Theatre', 1953-62

1959        Frances Langford Presents [Ed Hillie & Nathan Juran] special/60m (comp of 2 unsold pilots)

1916        Robinson Crusoe [Robert Z. Leonard; 3 reels] c.asst; ph: ?

1919        Blind Husbands [Erich von Stroheim] 2nd cam; ph: Ben Reynolds

1919        The Devil's Passkey [Erich von Stroheim] 2nd cam; ph: Ben Reynolds

1922        The Long Chance [Jack Conway] 2nd cam; ph: Ben Reynolds

1964        None But the Brave [Frank Sinatra] assoc prod; ph: Harold Lipstein