Firstly though, a small disclaimer: This isn't a press review camera but my own beast, purchased with semi-real money. Nor is this intended to be a 'numbers and menus' review - life being far too short for that – but rather my first impressions of it and how it performs in daily use.
I've also have had a Canon EOS 5D on hand, so I'm now working on some comparisons with that, for publication as soon as I can set some Photoshopping time aside.
]]> First ImpressionsTearing aside an infeasibly large shipping box reveals a surprisingly small Olympus box inside – surprisingly as my biggest pre-purchase disappointment with the E-3 has been its apparent bulk and weight: I went with the 4/3 System partly to minimise the lardage of my camera equipment, so to find a 4/3 DSLR that appears to outweigh and outbulk both APS-C and Full Frame-based Canons and Nikons was something I was less than gruntled about.
Equally reassuring is that the feel and heft of the camera haven't changed: the build quality is superb and right up there with the E-1, with the exceptions of a slightly flimsier feeling card access door and lighter weight catches for the memory and battery doors. Picking up the Canon 5D, I'm struck by how it feels both insubstantial and bulky by comparison - the E-3 is both more compact and denser, as though carved from neutronium. This I like. The next thing that strikes is the sheer number of buttons scattered over the surface of the E-3, enough to elicit an awestruck "blimey!" from the passing 5D owner. Three things contribute to this: Olympus' philosophy of providing at least three ways to do anything; to the fact that there is a lot of functionality here and to the fact that Olympus do arrange their buttons around the camera, in places that make sense ergonomically rather than visually - the straight rows of buttons on other cameras might look less cluttered to the eye, but are complete buggers to use by feel, with camera to the eye. That said, I'd say that the basic ergos of the E-3 are slightly inferior to those of the E-1: the mode dial has been moved into software and the front selection dial is now below the shutter release rather than above it, restricting the number of digits that can be used with it and the directions from which it can be accessed: minor but occasionally significant stuff. Likewise when the HLD-4 battery grip is fitted: it's just a little less curved along the front edge than the E-1's HLD-2 and thus feels just a touch more cumbersome to hold – the whole ensemble feels (and is) notably bulkier than the E-1/HLD-2 combination.
One further disappointment: The E-3 ships with the BCM-2 battery charger, rather than the BCM-1 that came with the E-1. The BCM-2 is notably smaller and lighter than the BCM-1, but takes twice as long to charge the battery: not what I'd expect from Olympus' pro product. The HLD-4 takes two BLM-1 batteries, but does not ship with any means of charging two at once. Again, Olympus not thinking through its users' needs. Tch.
Never trust manufacturers' weight figures, as they all clearly fill cameras with helium and then weigh them on Mars. I use my trusty digital kitchen scales and measure camera bodies with strap, battery and card (but no body cap) and lenses with lens hood, lens cap and (where applicable) tripod mount, but without back cap. Doing so gives me an idea of just how much I'll instantaneously be hanging off my neck, as opposed to stuffing in my backpack. So, some numbers:
Battery and card inserted, the E-3 powers up very smartly, now with a spurious flashing blue LED to indicate that the SuperSonic Wave Filter is doing its stuff. Menus are bright and clear, with most of the core functions accessible from the main menu, navigated by the keypad, from the status LED atop the camera using the mode dials and from use of the "direct access" buttons scattered liberally around the body. More confusing to describe than to use, I like having the flexibility to set the camera up however I choose. A number of the buttons are customisable to a high degree, and it'll be a while before I've got everything set 'just so' for me – it's even possible to customise the controls so that their function depends on the mode the camera is in, and there are two complete 'my mode' settings to allow you to save common shooting settings and access them with a single touch.
Once I discover that the direct access buttons do different things depending on which of the two mode dials I'm using, I get set up to shoot quickly enough: card in, drop the camera into RAW mode and Aperture Priority, program the rear shooting dial (referred to as the 'main' dial - something that confuses me) for exposure compensation and I'm away.
The view from the bridge is good: the viewfinder is notably larger and brighter than that of the E-1, although both are put to shame by the size (but not the brightness) of the viewfinder image of the OM-2n: a camera half the size and a quarter of a century older! The apparent size and brightness of the viewfinder appear very similar to the Canon EOS 40D, once allowance is made for the difference in aspect ratio.
Comprehensive shooting information is displayed along the bottom of the viewfinder and the autofocus, indicated by the 11 focus points, is fast and precise. It's a real pleasure to have a thoroughly modern focussing system – the three-point system of the E-1 was fine for most 'normal' use, but completely useless for fast action work: whenever I was shooting motorsport I'd have to switch to manual focus and pre-focus on one spot on the track. The E-3's continuous autofocus mode also appears to have a predictive servo, which I'll put to the test the next time the local swans do a low flypast in what passes for daylight at this latitude.
Now we come to two 'new' features of the E-3: the image stabiliser and the Live View LCD. I've been looking forward to the IS system - to suddenly have every Zuiko lens I possess stabilised is a wonderful notion, and one that seems to work very well in practice - a couple of the shots in the test gallery were, you will see, shot at 1/50s at 400mm equivalent, not normally a workable combination for handholding. Olympus claim a hefty five-stop advantage for the IS system - something that's hard to verify but, even on first trials, I'll allow it an easy three stops until I have the chance to put it through its paces more rigorously.
I wasn't, to be honest, bothered about having the Live View feature. Until I used it, that is: it's axiomatic that the best height to have a tripod set for creative purposes always turns out to be the least comfortable height for looking through the viewfinder, so to be able to rotate the LCD to a comfortable position then just switch to Live View is an absolute godsend, and one for which my creaking knees will be forever grateful. It's not for action shooting, being rather slow in switching modes or in focussing, but for tripod-based landscapes, macro work and the occasional over-the-head shot, it's brilliant. Live view also provides a very useful live colour histogram – there doesn't appear to be a facility to have this displayed when shooting through the viewfinder, something that is rather deeply annoying, and I'd very much like to see Olympus remedy this with a firmware upgrade.
Focus is very fast, and works well in low light, even without popping up the flash to act as a focus assist lamp. It's worth noting that I'm using my existing 14-54mm lens rather than the new 12-60mm SWD lens, which in combination with the E-3, Olympus claim world-leading autofocus speeds. In any case, it's usefully brisk, noticeably better than either the E-1 or the 5D. Even without using the pop-up flash as the autofocus illuminator, the E-3 is very noticeably better than the 5D at low light focussing. While the use of the flash as a focus-assist works well, it scarcely makes for unobtrusive low-light shooting: the red pattern grid projected by the E-1's built-in lamp was far more subtle.
I haven't played overmuch with the metering yet, but the ESP metering is a useful evolution of the excellent system in the E-1, and the E-3 adds both highlight and shadow-biased spot metering to its portfolio of tricks. What's missing from this and every other current camera (warning: personal hobbyhorse forthcoming) is the old multi-spot metering system from Canons of yore, where the camera would integrate multiple spot meter readings of your choice into an overall exposure value – something I still miss from my T-90 days and a perfect Zone System tool.
Also tweaked rather than changed is the White Balance setup, which continues the Olympus irony of providing a huge range of adjustments to White Balance whilst not actually needing them – the auto White Balance is so good that it rarely needs the range of adjustments provided.
A few trial shots in the can and it's time to hook up to my Mac for transfer. Unlike the E-1, which provided both USB2 and Firewire interfaces, the E-3 has only USB2, this time behind a simple rubber flap rather than a proper door. On the E-1, the Firewire was notably faster than the USB2, but I'm happy to say that the E-3's USB2 implementation is one of the faster that I've come across. Both transfer and storage are also helped by Olympus' use of lossless compression in the RAW file format of the E-3, resulting in a camera with double the resolution of the E-1 but which generates smaller files - 9.5-11MB RAW files from a 10MP DSLR is a nice trick.
Interestingly, when you connect to a computer, by default, the E-3 pops up a menu asking what connection mode you want - it offers to behave as a USB disk or to connect in MTP (Mass Storage) mode - the E-1 only offered the former. Now that worked fine under Tiger (Mac OS X 10.4), but simply doesn't work under Leopard 10.5.1/Lightroom 1.3 (Build 396184) - you have to manually "Import from Disk" to get it to work. I'm pleased to say however that MTP (Mass Transfer) mode works perfectly and can be set as the default in the cameras menus.
The E-3 comes bundled with Olympus' own software: a full version of Olympus Master 2.0 and a trial version of Olympus Studio 2. Which is just stupid – why bother shipping very inferior image-handling tools when Adobe Camera Raw and Lightroom already support the E-3, although an update to improve Lightroom's handling of the E-3's RAW files is imminent - ACR 4.3.1 has already been updated to resolve some artefacts with the E-3's RAW files. It's worth noting that, as of this moment, Apple's Aperture does not so far support the E-3, although it is possible to hack it to read the E-3's .ORF files once they've been translated to Adobe .DNG format. Not what's wanted, and Apple's deplorable tardiness in updating Aperture for new cameras (my Ricoh GX100 came out in April and they still haven't provided support for it) was a deciding factor in my ditching it for Lightroom. Bibble Pro and Capture One also now support the E-3, but I've not yet had a chance to test either.
What the Olympus software is needed for however is to update the camera and lens firmware and to provide tethered use features. Right now however, neither Master nor Studio's update or camera control features will work with Mac OS X 10.5 Leopard. And that's before we get onto the issue of wondering why on earth Olympus don't simply bundle the Studio package with what is, after all, their pro camera. That or just ditch all image cataloguing and editing functions and just provide a maintenance and tethered use utility.
While I bought my E-1 in the US, I ordered the E-3 in the UK, despite the current exchange rate against the US banana-dollar. A UK body-only price of £1099 (VAT inclusive) plays against a US price equivalent to about £850, plus shipping, courier handling fees and VAT and the difference becomes marginal at best. However, there seems to be more of a premium for the body plus the 12-60 SWD lens bundle - £1699 in the UK vs $2500 US - allowing for shipping, handling and tax, you'd currently come out about £170 ahead – a useful saving.
The spirit of McMurphy has been active around here: since the moment my E-3 arrived, the weather hereabouts has been dank and drear, meaning that such images as I've been able to take have been more of a test of the weatherproofing of the camera and the effectiveness of the IS system rather than of the dynamic range of the sensor. So be it, and the images at the top are a few examples, with more to come if the sun ever appears again. Click on each image to load a full-size jpeg, or click here to browse the gallery, with EXIF data, on my image server.
]]>I've been using digital cameras alongside my film systems since 1996, and finally went fully digital in 2004. I mostly use Olympus equipment for its toughness, compactness and lens quality and Ive spent a decade transferring my darkroom skills to software, so at least I can now absent-mindedly switch on the light without losing a day's work.
For all of this, I blame my father: at the age of 10, my Christmas present was a second-hand East German Exa II SLR – entirely manual and sans light meter. My father probably and promptly regretted the latter as, within weeks of learning to tell my f-stops from my elbow, I'd hijacked his beloved Weston Master V light meter, never gave it back, and still use it. The camera I used for nigh-on a decade, only selling it to help fund a state-of-the-art Canon system to accompany my first African adventure – wombling around Northern Ghana whilst researching the wet-season ecology of the Red-Throated Bee-Eater. Heady stuff. In my latter days at University, I not only was photographer for the university newspaper and did my classmates graduation pictures but spent rather too much of my time in the departmental darkroom to stand much chance of a top degree. I must have been a great disappointment to the Bee-Eaters.
In late 2006, my beloved Gill and our feline horde moved to the Highlands of our native Scotland – we're now living in the midst of scenery that other photographers travel across the world to experience and record. That too is an opportunity and there will be much more about that here in time. In the meantime, although most of my time is spent working on my own projects, I am at times available for commissions and collaborative projects. If you'd like to know more, please .
Download Google Earth link: Two Worlds Images: 2006 Goodwood Revival Meeting
]]>The Watts Gallery is currently the subject of a major restoration appeal, to restore and conserve both the building itself and its collection. It has just been featured on the BBC's Restoration Village series.
]]> These images are just a small selection of those available: all are available as high-quality, hand-mounted giclée prints, framed as required, in colour or monochrome at any of a number of sizes and combinations. As the online store isn't ready yet, please for more details.Download Google Earth Link: Two Worlds Images- Watts Chapel.kmz
]]>Download Google Earth link: Two Worlds Images- Patterns in the Stone.kmz
]]>There's a wide range of software available to support all or part of the photographic imaging workflow, and this is my own update on the current release state of my favoured workflow applications, including both those I use day-to-day and those I'm trialling, reviewing or considering.
]]> In roughly decreasing order of importance to me (not by inherent quality of application) and as of 20th March 2006:
Others that I use or am trying and like, but which are not (yet) in my core workflow:
Finally, for some indicative benchmarking of the relative performance of Universal, G4 and Rosetta applications on Intel Macs, check out this article at robgalbraith.com.
]]>If this has made you think seriously about buying one, I'd naturally be very happy if you did so by following this link to the UK Store and then clicking on the refurbished store logo – I'm a registered Apple UK Affiliate and the very small kickback I get from Apple helps give me the incentive to keep on posting hopefully useful stuff to the site. The US store (on which I don't get any benefit) is here – click on the "Special Deals" link to go to their refurb store. Thanks and all that…
There is one thing to watch (for which read, "learn from my mistakes"): PowerBooks are known to be fussy about aftermarket memory – and this machine seems to be a very major prima donna in this regard. I can say, with some confidence, that Transcend memory upgrades do NOT work on this machine, no matter what the Transcend web site says. When buying RAM, I invariably max out my Powerbooks with 2GB – absolutely essential for programs like Photoshop and Aperture. This machine, the final 1.67GHz Powerbook G4, uses DDR2 RAM – the same form factor as the MacBook Pro, so I ordered 2*1GB of Transcend DDR2 667MHz SODIMM RAM from Orca Logic, on the principle that I could simply swap over the RAM when I finally buy a MacBook Pro. Nice idea, but one that simply didn't work - the Transcend memory causing multiple freezes and loss of Bluetooth connectivity - usually a sign of mismatched memory timings. Although the 667MHz memory should have worked fine, I took it back and replaced it with the DDR2 533MHz memory specified by Transcend for this PowerBook. No dice – same problem. Beginning to suspect the PowerBook itself, I swapped the memory into a second, identical, PowerBook: same problem. A collaborator of mine was, by this stage, also having the same problem with identical memory. So the Transcend RAM was duly returned to Orca Logic (whose service has been exemplary throughout) and 2GB of Micron memory ordered through Crucial. That went in this morning and, so far, it's looking good…
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I do a great deal of my photography, writing and geekery on the hoof, and am often to be found staggering around assorted strange parts of the planet, swaying like an overloaded Christmas tree under the combined weight of camera, computer and communications gear, and all those bits and pieces that I've slung in, "just in case". So, Welcome to the review area – this is where I'll be reviewing technology and tools that really work (or, for that matter, which don't) for those of us who spend rather too much – often too much – of our lives on the road, in planes and, on occasional, up to our individual or collective armpits in mangrove swamps. In particular, it's aimed particularly (but certainly not solely) at the needs of the digitally-driven travelling and expedition photographer – from the casual traveller through to the semi-pro and onward to the full-on hairy professional.
I concentrate on reviewing stuff that has at least a nodding acquaintance with the notion of portable(1), and which is actually useful once away from the beaten track of broadband-enabled hotels and the Starbucks monoculture. Included are computers, phones, PDAs, communications services, cameras, accessories to any of the the foregoing, luggage, books, useful web sites and, of course, the power sources that help keep everything going.
]]> And a word about the word – review. What we're not trying to do here is a full review of the basic capabilities of a camera, computer, hamster wheel or whatever – there are there are some wonderful resources available online, often going into wonderfully and scarily anal depth on any given topic, and we'll happily link to those where appropriate. What you'll find here complements those with a combination of first thoughts, opinion in varying degree and word from the field on just how kit performs out there. And the further out, the better.So there are three levels at which I and those of like mind review stuff here: The random comment (possibly sight unseen) on new equipment and services that look promising, but which we haven't had a chance to test yet; the more detailed hands-on look, where we've had the chance to use and compare a piece of kit in useful detail and, finally, long-term feedback on equipment and services that have been used (and probably abused) extensively over a decent period of time. For all the informality, we do use a simple methodology, which consists of a breakdown of the main areas of capability of an item, each chosen for it's relevance to a traveller's needs. Read more about that here. We construct a review model on that basis, but will cheerfully ignore it to give direct personal opinions on the good, the bad and the downright ugly.
Finally, we've put together a few common scenarios for how and where equipment gets used, individually and as a system, and you'll find comments in the reviews about their suitability for each – in most cases they'll be blindingly obvious:
Ultimately, it's all about the ability of a product to fulfil the needs of the travelling user, particularly the travelling photographer. We also welcome feedback through the site's comment mechanism or by emailing us directly.
(1) Your definition may vary.
(2) You know the ones - where you read the intro, go directly to the conclusions, maybe sneak back in for looks at the other bits if you're having a really slow day, then sit back in awed/horrified amazement that anyone should have spent so much time taking that many screenshots of camera menus.
Cartoons by Gill.
]]>So we're starting with sad note in technohistory: I've been surgically attached to both the name and entity of Powerbook since it first appeared rather more than fourteen years (and to my laughingly named Mac "Portable" before that), so I'm unlikely to convert to the casual dropping of, "I'll just grab my MacBook…" overnight. Or possibly not ever. And what happens when Apple migrates their Power Mac range to Intel - do we end up with the Mac Mac?
But enough of the sentimental maundering – this is supposed to be about what the Intel shift means to travelling photographers and meedja types, for whom a <whatever>Book is their weapon of choice, and for those Wintel frustratees who are considering a shift, now that direct platform comparisons are possible for the first time.
First things first, then – just what is a MacBook, and what's changed from the previous generation of PowerPC-based machines?
A full specification is available on the Apple web site, so I'm not going to reiterate that, but concentrate on what's changed, for better and worse. The basic industrial design remains as for the 15" Aluminium PowerBooks, albeit in a case that's 1cm wider than before, but a couple of mm slimmer – almost back to the thickness of the PowerBook Ti. Depth remains the same. Strange to tell, that little extra slimness is much more significant for travelling than the extra centimeter of width – I'll happily trade a bit of footprint for something I can stuff into the narrowest possible space in a crowded equipment bag. A good start then. Now for the rest…
]]> GainsThe Big One: A change from a single IBM PowerPC processor to a dual-core Intel âYonahâ, running at 1.67 or 1.83GHz. Apple claim up to 4x performance improvement over the 1.67GHz Alu PowerBook – probably closer to 5x over my 1.25GHz model. That's more than useful (but see Performance caveats below).
Screen: Another Big One: While it seems to have lost a few pixels over the outgoing final G4 (1440*900, against 1440*960), it's gained in brightness, to the point where it is claimed to match the brightness and contrast ratio of the Cinema Displays. For editing on the the go, that's worth the upgrade alone – the old Powerbook's greatest weakness for photo editing was poor brightness and contrast. What's interesting to note though is that the 20" screen in the new iMac claims both greater brightness and twice the contrast ratio of any of the Cinema Displays. Suprised? Yes, me too, and I'd love to do a side-by-side comparison.
Magnetic cord Power Supply: This is actually very useful, given the state that my G4's power cords always get into where they join the machine.
Built-in iSight: Useful and convenient, but not as useful as a separate iSight. It also appears that the included iSight can't be rotated separately from the screen, which is a pain in several proverbials.
Remote Control, receiver and Front Row built-in: The addition of a remote control receiver and the remote itself falls into the 'occasionally useful' category - as soon as it's possible to control applications other than Front Row, it'll be useful for travelling presentations, although will lack the 'wow' factor I currently get when operating my PowerBook from my mobile phone with Salling Clicker. But I'll still be able to do that.
802.11a Support: The MacBook Pro supports the 820.11a high-speed wireless network protocol, something neither mentioned on the web site, nor supported by any Apple Base Station. I wonder if this indicates that Apple have adopted Intel's new generation Centrino architecture, lock, stock and barrel?
There's no internal modem (Apple sell a separate USB modem): While I haven't used a modem in six years in Europe or the US (With Wi-Fi, Bluetooth and GPRS/EDGE/UMTS doing the job very nicely), I frequently have recourse to good ole POTS in parts of Africa, Belgium and other such disadvantaged places. Just means that I'll need to pack a USB modem stick alongside my MiniTV DTT stick.
Firewire 800 has gone AWOL: This is bad – Like many, I've got a lovely large 800Mbps Firewire external drive for working storage – looks like I'm going to have to use its USB2 connection instead. Apple, why?
No PC Card slot: It's been replaced by ExpressCard/34 slot: Has anyone ever seen an ExpressCard/34 peripheral?
No S-Video output: This was sometimes useful, but with more TVs having DVI/HDMI input, is becoming less so.
Trackpad: It's still a single-button trackpad – a complete nonsense, when Mac OS X automatically supports as many buttons as you care to throw at it. How long are Apple going to try to perpetuate the myth of single-button ease of use? More likely that they were on such a tight timeline to market that they just went with previous trackpad supplier specs.
Magnetic cord Power Supply grumble: I can't use any of my spare G4-era power supplies with the new machine.
DVD burner: Now this is really stupid: Apple seem to have reverted to a 4x single-layer writer, rather than the 8x dual-layer device in the final G4. I can only imagine this was done if the 8x drive wouldn't fit the slimmer form factor. But it's a leap back into the dark: being able to immediately backup 9GB of pictures on a single DVD is a major help – it's back to twice the number of disks and more thumb-twiddling.
Raw performance looks great: 2-5x the throughput of the G4/1.67GHz. At least, with Universal applications, which is to say, those that have been recompiled to run natively on the Intel system. At the moment, that includes Mac OS X itself (not necessarily axiomatic, so good to see) and Apple's built-in and iLife '06 applications (not sure about iWork yet). Everything else runs under emulation, using the built-in Rosetta engine.
Apple's Pro apps are due in March or thenabouts, as is MS Office. It's just, just possible that Aperture might then turn into something not entirely dog-slow, but I'm not holding my breath, either for that or for competent RAW conversion (acerbic review forthcoming). It should do wonders for Final Cut on a portable. One irritant there is that Apple seem to be going to charge $49 cross-grade fee per application. Let me see, I've just shelled out $2500-3000 of my hard-earned on your latest shiny toy and now you want to charge me to make your own applications work on it? Gits.
If you're a photographer, designer or other such media pimp, you're going to be wanting core applications shuch as Photoshop, iView MediaPro, Capture One, Noise Ninja and others of that ilk. People who've had a quick hands-on with a MacBook say that Photoshop runs under Rosetta at about the same speed as it does native on a G4 so, as long as there isn't a major bottleneck on certain operations (as can happen with emulation), the move to MacTel would seem to be a no-brainer.
There's a limited options list, including a maximum of 2GB of memory – I don't know whether that's a hard limitation or simply that Apple is being conservative about the availability of 2GB DDR2 SDRAM modules – PC equivalents are advertising 4GB in two slots, and I don't see why the Mac should be any different (did I really say that?).
There is a 120GB, 5400rpm drive option, although my own view of the sweet spot would be the 100GB 7200rpm drive at the same price – if I need more drive, I need a LOT more than the odd 20GB and would get more out of the 7200 spin.
I also note that Apple quote a maximum operating temperature of 35 degrees Celsius (about 95 Fahrenheit for the SI-challenged). That's really not acceptable for travellers – although I've used my G4 in temperatures of 40 Celsius or so without problem other than scorched thighs. I hope the MacBook is similarly tolerant. I have no problem with the minimum operating temperature of -24 Celsius though – fingers stop working far above that.
Now, this is where it gets really interesting: for the first time, ever, we can start making like-for-like comparisons with very similar machines running Windows – here, the new Acer TravelMate 8204WLMi is a near match, feature-for-feature, with the MacBook Pro: The same processor (at 2.0GHz rather than 1.83GHz), similar size display (albeit at a higher resolution - actually it's almost unreadable), more ports, more memory, same graphics card and a similar base price. It features a technocool carbon fibre chassis, but still manages to weigh half a kilo more and be 50% thicker than the MacBook, which does rather reinforce my long-standing faith in the priorities of Apple's designers.
The Acer does however have an 87Watt-hour standard battery, against the 60Watt-hour of the MacBook (50 Watt-hours for the final G4). This gave a battery life of 3hrs 47minutes on PC Magazine's MobileMark 200 test. The Mac may have slightly better base consumption with its 1.83GHz processors (which I imagine to be the reason Apple chose them over the 2.0GHz variant), so I'd anticipate that, by the same criteria, the MacBook would deliver something over 2hours 30minutes. Not brilliant, not even good, but a deal better than my G4/1.25GHz manages. I guess I'm still missing the dual-battery Lombard G3…
There's no doubt that this first generation of Intel Macs marks a major step forward in the whole price/performance boogie. But it is clearly a first generation machine – some aspects of the specification smack of a rush to market, and there are a few clearly backward steps in the dance. Will I buy one, though, or wait for the Rev. B machines (let's say the Autumn for those)? The answer has to be, âalmost certainlyâ – it may not manage the full tango for a while, but should do a very passable two-step.
]]>In October 2005, it won the prestigous Stirling Prize, beating off competition from five other shortlisted RIBA award-winning designs.
This monochrome gallery, shot mostly at night, emphasises the form and moods of the encapsulated and rambling village of a building.
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