As per our current Database, Daniel L. Fapp has been died on 19 July, 1986 at Laguna Niguel, California, USA.
When Daniel L. Fapp die, Daniel L. Fapp was 82 years old.
| Popular As | Daniel L. Fapp |
| Occupation | Cinematographer |
| Age | 82 years old |
| Zodiac Sign | Taurus |
| Born | April 21, 1904 (Kansas City, Kansas, USA) |
| Birthday | April 21 |
| Town/City | Kansas City, Kansas, USA |
| Nationality | USA |
Daniel L. Fapp’s zodiac sign is Taurus. According to astrologers, Taurus is practical and well-grounded, the sign harvests the fruits of labor. They feel the need to always be surrounded by love and beauty, turned to the material world, hedonism, and physical pleasures. People born with their Sun in Taurus are sensual and tactile, considering touch and taste the most important of all senses. Stable and conservative, this is one of the most reliable signs of the zodiac, ready to endure and stick to their choices until they reach the point of personal satisfaction.
Daniel L. Fapp was born in the Year of the Dragon. A powerful sign, those born under the Chinese Zodiac sign of the Dragon are energetic and warm-hearted, charismatic, lucky at love and egotistic. They’re natural born leaders, good at giving orders and doing what’s necessary to remain on top. Compatible with Monkey and Rat.
American cinematographer who spent the bulk of his career at Paramount (1923-1959). After two years apprenticed in the studio lab, Fapp first worked the movie camera as an assistant in 1925. By 1941, he had graduated to full director of photography at the behest of cinematographer, turned director, Ted Tetzlaff.
Fapp joined the American Society of Cinematographers that same year. Though he was generally confined to shooting B-grade material, he was allowed to shine whenever bigger budgeted productions came his way.
He did arguably his best work for the director Mitchell Leisen, who, as a former art director and costume designer, had a famously keen eye for visual style.Fapp excelled shooting Leisen's sumptuous-looking period romance Kitty (1945) (a true example of style trumping content).
He was equally effective on another Leisen film, lensing Olivia de Havilland (as she aged in the course of three decades) in the superior tearjerker To Each His Own (1946). Other efforts in contrasting style: the noirish crime flic The Big Clock (1948) in stark, austere black & white; the vivid Technicolor frontier adventure The Far Horizons (1955), its stunning scenery expertly captured in Vista Vision (directed by another former cinematographer, Rudolph Maté); the frantic Billy Wilder farce One, Two, Three (1961); and West Side Story (1961), which finally won Fapp an Oscar (and a Golden Laurel Award) for Best Color Cinematography.
After leaving Paramount in 1959, Fapp free-lanced for another decade and retired in 1969.
