The people at Technicolor, wrote Michael Powell, had usually encountered filmmakers accustomed to black-and-white, people who listened while the Kalmus crew told them what Technicolor could and could not do. The Technicolor folks had a surprise in store from Cardiff, who had worked in the laboratory for years and was "able to tell Technicolor where they could get off."
"Now," said Powell, "they were dealing with painters, which was a very different thing."
For his inventions, imagination and sheer audacity, there has never been another colour cameraman like Jack Cardiff. Georges Perinal was the best camaerman I have ever worked with, both in black and white and in colour, but Jack was something apart. The skin textures in the close-ups of Colonel Blimp would have delighted Fragonard, but Jack's lighting and composition in Black Narcissus and The Red Shoes would have infuriated Delacroix, because he couldn't have done any better himself, in imagination or in chiaroscuro.
--Michael Powell, A Life in Movies