Born in Cleveland, Ohio. One of the most distinguished lighting cameramen in the history of American cinema, he was a brilliant innovator who varied his style from picture to picture, to match each film's theme as well as each director's vision. Educated at USC, Daniels began as assistant camera operator with the Triangle company in 1917 and became first operator at Universal in 1918 and director of photography in 1919. He achieved outstanding mood effects on films of Erich von Stroheim in the early 20s and reached a peak of personal prestige during his long employment (1924-43) with MGM. In the 30s he became known as "Garbo's cameraman." He worked on most of the star's pictures and was not only able to capture her unique features glowingly but also to win her confidence and trust. Out of consideration for her fears and temperament, he insisted that all Garbo scenes be shot on closed sets with no one but the essential crew present. In 1947, after a period of illness, Daniels joined Universal. In both the 50s and 60s, he demonstrated a skill with color photography no less impressive than his celebrated work in black and white. President of American Society of Cinematographers 1961-63. He once said, "We try to tell the story with light, and the director tells it with action." With over 160 credits, some of his notable films include 1919: BLIND HUSBANDS; 1922: FOOLISH WIVES; 1925: GREED, THE MERRY WIDOW, THE TORRENT; 1926: THE TEMPTRESS; 1927: FLESH AND THE DEVIL; 1928: A WOMAN OF AFFAIRS, THE MYSTERIOUS LADY; 1929: THE LAST OF MRS. CHEYNEY, THE KISS, THEIR OWN DESIRE; 1930: ANNA CHRISTIE, ROMANCE; 1931: A FREE SOUL, MATA HARI; 1932: GRAND HOTEL, AS YOU DESIRE ME, RASPUTIN AND THE EMPRESS; 1933: DINNER AT EIGHT, QUEEN CHRISTINA; 1934: THE BARRETTS OF WIMPOLE STREET; 1935: NAUGHTY MARIETTA, ANNA KARENINA; 1936: ROMEO AND JULIET, ROSE-MARIE, CAMILLE; 1937: BROADWAY MELODY OF 1938; 1939: NINOTCHKA, IDIOT'S DELIGHT, ANOTHER THIN MAN; 1941: BACK STREET, SHADOW OF THE THIN MAN; 1942: FOR ME AN MY GAL, KEEPER OF THE FLAME; 1943: GIRL CRAZY; 1947: BRUTE FORCE; 1948: THE NAKED CITY (a decidedly unglamorous, documentary-style urban thriller for which he won his only Oscar); 1949: THE LIFE OF RILEY; 1950: WINCHESTER '73, HARVEY; 1951: BRIGHT VICTORY; 1952: PAT AND MIKE, PLYMOUTH ADVENTURE; 1953: THE GLENN MILLER STORY; 1954: THE FAR COUNTRY; 1955: STRATEGIC AIR COMMAND, THE BENNY GOODMAN STORY; 1957: NIGHT PASSAGE; 1958: CAT ON A HOT TIN ROOF, SOME CAME RUNNING; 1959: A HOLE IN THE HEAD; 1960: CAN-CAN, OCEAN'S ELEVEN, ALL THE FINE YOUNG CANNIBALS; 1962: HOW THE WEST WAS WON, BILLY ROSE'S JUMBO; 1963: THE PRIZE, COME BLOW YOUR HORN; 1964: ROBIN AND THE 7 HOODS; 1965: VON RYAN'S EXPRESS; 1966: ASSAULT ON A QUEEN; 1967: IN LIKE FLINT, VALLEY OF THE DOLLS; 1968: THE IMPOSSIBLE YEARS; 1959: MARLOWE; 1969: THE MALTESE BIPPY; and his last film, 1970: MOVE.  Nominated for Cinematography 1929-30: ANNA CHRISTIE  Cinematography (Black & White) 1948: THE NAKED CITY  Nominated for Cinematography (Color) 1958: CAT ON A HOT TIN ROOF  Nominated for Cinematography (Color) 1963: HOW THE WEST WAS WON (w. Milton Krasner, Charles B. Lang & Joseph La Shelle) 4 nominations, 1 Award