Oswald Norman Morris, (22 November 1915 – 17 March 2014) was a British cinematographer. Known to his colleagues by the nicknames "Os" or "Ossie", Morris's career in cinematography spanned six decades. Life and career Morris was raised in Middlesex (now the London Borough of Hillingdon), and attended the Bishopshalt School. His interest in film began at an early age; during summer vacations, he would work as a projectionist at the local cinema. Dropping out in 1932, he started working in the film industry at Wembley Studios as an unpaid gofer for Michael Powell, among others, eventually graduating to the positions of clapper boy and camera assistant on quota quickies. By his 20s, Morris was a camera operator, first at Wembley, and later at Elstree. His career was interrupted by the Second World War, during which he served initially as a Radio Operator/Navigator, before becoming a bomber pilot with the Royal Air Force flying Lancaster bomber raids over Italy,France and Germany, completing his 30 Operational tours before being transferred to Transport Command for the duration of the war. After which prior to discharge and resuming his career he took part in the Berlin Airlift. He achieved the rank of flight lieutenant and winning both the Distinguished Flying Cross and the Air Force Cross. After his war service, Morris worked at Pinewood Studios as an assistant to such people as Ronald Neame and David Lean at their company Cineguild. He was the camera operator during the shooting of Lean's Oliver Twist (1948). He first acted as director of photography on Golden Salamander (1950). Neame referred to Morris as "probably the greatest cameraman in the world". Morris collaborated with film director John Huston on eight films, beginning with Moulin Rouge (1952), and also including Moby Dick (1956). Although his previous experience with Technicolor had been limited, for Moulin Rouge he devised many stylish effects - through the use of diffused and filtered light, fog, and bold color choices - for the film, and his innovations drew critical praise from the critics. For Moby Dick, Morris developed what David Peloquin has called a "retro-silvered pictorial" which "was designed to capture the look of nineteenth-century whaling prints with their muted colors and silver sheen". Morris wrote in his autobiography that he and Huston wanted a "soft wash" effect "in which we would etch in the characters". To achieve this, in prints for the original release,