You are a helpful assistant in evaluating the quality of the outputs for a given instruction. Your goal is to select the best output for the given instruction.

Select the Output (a) or Output (b) that is better for the given instruction. The two outputs are generated by two different AI chatbots respectively.

Here are some rules of the evaluation:
(1) You should prioritize evaluating whether the output honestly/precisely/closely executes the instruction, then consider its helpfulness, accuracy, level of detail, harmlessness, etc.
(2) Outputs should NOT contain more/less than what the instruction asks for, as such outputs do NOT precisely execute the instruction.
(3) You should avoid any potential bias and your judgment should be as objective as possible. For example, the order in which the outputs were presented should NOT affect your judgment, as Output (a) and Output (b) are **equally likely** to be the better.

Do NOT provide any explanation for your choice.
Do NOT say both / neither are good.
You should answer using ONLY "Output (a)" or "Output (b)". Do NOT output any other words.

# Instruction:
Here is an article:
A conflict between the government of Ethiopia and forces in its northern Tigray region has thrown the country into turmoil. Fighting has been going on for almost two weeks, destabilising the populous country in East Africa, with reports of hundreds dead. A power struggle, an election and a push for political reform are among several factors that led to the crisis. Here, we've broken them down to explain how and why this conflict has flared. In simple chunks of 100, 300 and 500 words, this is the story of the crisis so far. The conflict started on 4 November, when Ethiopian Prime Minister Abiy Ahmed ordered a military offensive against regional forces in Tigray. He said he did so in response to an attack on a military base housing government troops in Tigray. The escalation came after months of feuding between Mr Abiy's government and leaders of Tigray's dominant political party. For almost three decades, the party was at the centre of power, before it was sidelined by Mr Abiy, who took office in 2018 after anti-government protests. Mr Abiy pursued reforms, but when Tigray resisted, a political crisis ensued. The roots of this crisis can be traced to Ethiopia's system of government. Since 1994, Ethiopia has had a federal system in which different ethnic groups control the affairs of 10 regions. Remember that powerful party from Tigray? Well, this party - the Tigray People's Liberation Front (TPLF) - was influential in setting up this system. It was the leader of a four-party coalition that governed Ethiopia from 1991, when a military regime was ousted from power. More on the Tigray crisis: Under the coalition, Ethiopia became more prosperous and stable, but concerns were routinely raised about human rights and the level of democracy. Eventually, discontent morphed into protest, leading to a government reshuffle that saw Mr Abiy appointed prime minister. Mr Abiy liberalised politics, set up a new party (the Prosperity Party), and removed key Tigrayan government leaders accused of corruption and repression. Meanwhile, Mr Abiy ended a long-standing territorial dispute with neighbouring Eritrea, earning him a Nobel Peace Prize in 2019. These moves won Mr Abiy popular acclaim, but caused unease among critics in Tigray. Tigray's leaders see Mr Abiy's reforms as an attempt to centralise power and destroy Ethiopia's federal system. The feud came to a head in September, when Tigray defied the central government to hold its own regional election. The central government, which had postponed national elections because of coronavirus, said it was illegal. The rift grew in October, when the central government suspended funding for and cut ties with Tigray. Tigray's administration said this amounted to a "declaration of war". Tensions increased. Then, in what the International Crisis Group termed a "sudden and predictable" descent into conflict, Mr Abiy said Tigray had crossed a "red line". He accused Tigrayan forces of attacking an army base to steal weapons. "The federal government is therefore forced into a military confrontation," Mr Abiy said. Ethiopia, Africa's oldest independent country, has undergone sweeping changes since Mr Abiy came to power. A member of the Oromo, Ethiopia's largest ethnic group, Mr Abiy made appeals to political reform, unity and reconciliation in his first speech as prime minister. His agenda was spurred by the demands of protesters who felt Ethiopia's political elite had obstructed the country's transition to democracy. The Tigrayan politicians that led the ruling coalition for 27 years were deemed to be part of the problem. In the 1970s and 1980s their party, the TPLF, fought a war to wrest control of government from a military junta known as the Derg. The party succeeded, becoming a leading member of the coalition government that took power in 1991. The coalition gave autonomy to Ethiopia's regions, but retained a tight grip on central government, with critics accusing it of repressing political opposition. Now the party finds itself in opposition. In 2019, it refused to participate in Mr Abiy's new government and merge with his Prosperity Party. This snub was followed by further escalations. Tigray's decision to hold its own election in September, for example, was an unprecedented act of defiance against the central government. Since then, both governments have designated each other as "illegitimate". Tigray argues that the central government has not been tested in a national election since Mr Abiy's appointment as prime minister. Tigray has also called out the prime minister for his "unprincipled" friendship with Eritrean President Isaias Afwerki. There has long been animosity between Tigray and the government in Eritrea, which shares a border with the region. A dispute over territory along this border was the cause of a war fought between Ethiopia and Eritrea from 1998 until 2000. You may remember this dispute making headlines in 2018. That year, Mr Abiy signed a peace treaty with Eritrea's government, ending the territorial spat. A year later, Mr Abiy won the Nobel Peace Prize. Now it is war, not peace, that is drawing attention to Ethiopia. Thousands of civilians have been displaced since 4 November, when Mr Abiy ordered his military to strike forces in Tigray. Hundreds more are reported to have died, with reports of a civilian massacre. With the communications largely cut in Tigray, the exact number of casualties is not clear. The Ethiopian government has announced a six-month state of emergency in Tigray. A full-blown civil war could last far longer. "Given the strength of Tigray's security forces, the conflict could well be protracted," International Crisis Group, a non-profit organisation, says. "Tigray has a large paramilitary force and a well-drilled local militia, thought to number perhaps 250,000 troops combined." As Africa's second-most populous country, Ethiopia is pivotal to stability in the Horn of Africa. If the conflict intensifies, there are fears it could spill over into neighbouring countries. There have already been reports of missiles fired into Eritrea and 27,000 refugees fleeing to Sudan. There is also a concern that the conflict could exacerbate ethnic tensions elsewhere in Ethiopia.

Here is an summary requirement:
Summarize Ethiopia's political evolution in a timeline.

Please summarize the above article based on the given requirement:

# Output (a):
In 1991, a coalition government was formed in Ethiopia, with the Tigray People's Liberation Front (TPLF) as the leader. The coalition gave autonomy to Ethiopia's regions, but retained a tight grip on central government. In 2018, Abiy Ahmed became the Prime Minister of Ethiopia after anti-government protests. He pursued reforms, set up a new party (the Prosperity Party), and removed key Tigrayan government leaders accused of corruption and repression. In September 2020, Tigray defied the central government to hold its own regional election, which was deemed illegal. In October 2020, the central government suspended funding for and cut ties with Tigray, leading to increased tensions. On 4 November 2020, Abiy ordered a military offensive against regional forces in Tigray, leading to a full-blown conflict.

# Output (b):
- 1991: Tigray People's Liberation Front (TPLF) becomes the leader of a four-party coalition that governs Ethiopia after ousting a military regime.
- 1994: Ethiopia adopts a federal system, with different ethnic groups controlling the affairs of 10 regions.
- 2018: Abiy Ahmed becomes Prime Minister, pursuing political reforms and sidelining the TPLF.
- 2018: Abiy signs a peace treaty with Eritrea, ending a long-standing territorial dispute.
- 2019: Abiy wins the Nobel Peace Prize.
- 2019: TPLF refuses to participate in Abiy's new government and merge with his Prosperity Party.
- September 2020: Tigray defies the central government and holds its own regional election.
- October 2020: Central government suspends funding for and cuts ties with Tigray.
- November 4, 2020: Abiy orders a military offensive against regional forces in Tigray, leading to the current conflict.

# Which is better, Output (a) or Output (b)? Your response should be either "Output (a)" or "Output (b)":

Output (b)

Instruction:
Here is an article:
A conflict between the government of Ethiopia and forces in its northern Tigray region has thrown the country into turmoil. Fighting has been going on for almost two weeks, destabilising the populous country in East Africa, with reports of hundreds dead. A power struggle, an election and a push for political reform are among several factors that led to the crisis. Here, we've broken them down to explain how and why this conflict has flared. In simple chunks of 100, 300 and 500 words, this is the story of the crisis so far. The conflict started on 4 November, when Ethiopian Prime Minister Abiy Ahmed ordered a military offensive against regional forces in Tigray. He said he did so in response to an attack on a military base housing government troops in Tigray. The escalation came after months of feuding between Mr Abiy's government and leaders of Tigray's dominant political party. For almost three decades, the party was at the centre of power, before it was sidelined by Mr Abiy, who took office in 2018 after anti-government protests. Mr Abiy pursued reforms, but when Tigray resisted, a political crisis ensued. The roots of this crisis can be traced to Ethiopia's system of government. Since 1994, Ethiopia has had a federal system in which different ethnic groups control the affairs of 10 regions. Remember that powerful party from Tigray? Well, this party - the Tigray People's Liberation Front (TPLF) - was influential in setting up this system. It was the leader of a four-party coalition that governed Ethiopia from 1991, when a military regime was ousted from power. More on the Tigray crisis: Under the coalition, Ethiopia became more prosperous and stable, but concerns were routinely raised about human rights and the level of democracy. Eventually, discontent morphed into protest, leading to a government reshuffle that saw Mr Abiy appointed prime minister. Mr Abiy liberalised politics, set up a new party (the Prosperity Party), and removed key Tigrayan government leaders accused of corruption and repression. Meanwhile, Mr Abiy ended a long-standing territorial dispute with neighbouring Eritrea, earning him a Nobel Peace Prize in 2019. These moves won Mr Abiy popular acclaim, but caused unease among critics in Tigray. Tigray's leaders see Mr Abiy's reforms as an attempt to centralise power and destroy Ethiopia's federal system. The feud came to a head in September, when Tigray defied the central government to hold its own regional election. The central government, which had postponed national elections because of coronavirus, said it was illegal. The rift grew in October, when the central government suspended funding for and cut ties with Tigray. Tigray's administration said this amounted to a "declaration of war". Tensions increased. Then, in what the International Crisis Group termed a "sudden and predictable" descent into conflict, Mr Abiy said Tigray had crossed a "red line". He accused Tigrayan forces of attacking an army base to steal weapons. "The federal government is therefore forced into a military confrontation," Mr Abiy said. Ethiopia, Africa's oldest independent country, has undergone sweeping changes since Mr Abiy came to power. A member of the Oromo, Ethiopia's largest ethnic group, Mr Abiy made appeals to political reform, unity and reconciliation in his first speech as prime minister. His agenda was spurred by the demands of protesters who felt Ethiopia's political elite had obstructed the country's transition to democracy. The Tigrayan politicians that led the ruling coalition for 27 years were deemed to be part of the problem. In the 1970s and 1980s their party, the TPLF, fought a war to wrest control of government from a military junta known as the Derg. The party succeeded, becoming a leading member of the coalition government that took power in 1991. The coalition gave autonomy to Ethiopia's regions, but retained a tight grip on central government, with critics accusing it of repressing political opposition. Now the party finds itself in opposition. In 2019, it refused to participate in Mr Abiy's new government and merge with his Prosperity Party. This snub was followed by further escalations. Tigray's decision to hold its own election in September, for example, was an unprecedented act of defiance against the central government. Since then, both governments have designated each other as "illegitimate". Tigray argues that the central government has not been tested in a national election since Mr Abiy's appointment as prime minister. Tigray has also called out the prime minister for his "unprincipled" friendship with Eritrean President Isaias Afwerki. There has long been animosity between Tigray and the government in Eritrea, which shares a border with the region. A dispute over territory along this border was the cause of a war fought between Ethiopia and Eritrea from 1998 until 2000. You may remember this dispute making headlines in 2018. That year, Mr Abiy signed a peace treaty with Eritrea's government, ending the territorial spat. A year later, Mr Abiy won the Nobel Peace Prize. Now it is war, not peace, that is drawing attention to Ethiopia. Thousands of civilians have been displaced since 4 November, when Mr Abiy ordered his military to strike forces in Tigray. Hundreds more are reported to have died, with reports of a civilian massacre. With the communications largely cut in Tigray, the exact number of casualties is not clear. The Ethiopian government has announced a six-month state of emergency in Tigray. A full-blown civil war could last far longer. "Given the strength of Tigray's security forces, the conflict could well be protracted," International Crisis Group, a non-profit organisation, says. "Tigray has a large paramilitary force and a well-drilled local militia, thought to number perhaps 250,000 troops combined." As Africa's second-most populous country, Ethiopia is pivotal to stability in the Horn of Africa. If the conflict intensifies, there are fears it could spill over into neighbouring countries. There have already been reports of missiles fired into Eritrea and 27,000 refugees fleeing to Sudan. There is also a concern that the conflict could exacerbate ethnic tensions elsewhere in Ethiopia.

Here is an summary requirement:
Summarize Ethiopia's political evolution in a timeline.

Please summarize the above article based on the given requirement:

In 1991, a coalition government was formed in Ethiopia, with the Tigray People's Liberation Front (TPLF) as the leader. The coalition gave autonomy to Ethiopia's regions, but retained a tight grip on central government. In 2018, Abiy Ahmed became the Prime Minister of Ethiopia after anti-government protests. He pursued reforms, set up a new party (the Prosperity Party), and removed key Tigrayan government leaders accused of corruption and repression. In September 2020, Tigray defied the central government to hold its own regional election, which was deemed illegal. In October 2020, the central government suspended funding for and cut ties with Tigray, leading to increased tensions. On 4 November 2020, Abiy ordered a military offensive against regional forces in Tigray, leading to a full-blown conflict.

- 1991: Tigray People's Liberation Front (TPLF) becomes the leader of a four-party coalition that governs Ethiopia after ousting a military regime.
- 1994: Ethiopia adopts a federal system, with different ethnic groups controlling the affairs of 10 regions.
- 2018: Abiy Ahmed becomes Prime Minister, pursuing political reforms and sidelining the TPLF.
- 2018: Abiy signs a peace treaty with Eritrea, ending a long-standing territorial dispute.
- 2019: Abiy wins the Nobel Peace Prize.
- 2019: TPLF refuses to participate in Abiy's new government and merge with his Prosperity Party.
- September 2020: Tigray defies the central government and holds its own regional election.
- October 2020: Central government suspends funding for and cuts ties with Tigray.
- November 4, 2020: Abiy orders a military offensive against regional forces in Tigray, leading to the current conflict.


You are a helpful assistant in evaluating the quality of the outputs for a given instruction. Your goal is to select the best output for the given instruction.

Select the Output (a) or Output (b) that is better for the given instruction. The two outputs are generated by two different AI chatbots respectively.

Here are some rules of the evaluation:
(1) You should prioritize evaluating whether the output honestly/precisely/closely executes the instruction, then consider its helpfulness, accuracy, level of detail, harmlessness, etc.
(2) Outputs should NOT contain more/less than what the instruction asks for, as such outputs do NOT precisely execute the instruction.
(3) You should avoid any potential bias and your judgment should be as objective as possible. For example, the order in which the outputs were presented should NOT affect your judgment, as Output (a) and Output (b) are **equally likely** to be the better.

Do NOT provide any explanation for your choice.
Do NOT say both / neither are good.
You should answer using ONLY "Output (a)" or "Output (b)". Do NOT output any other words.

# Instruction:
Here is an article:
A lifeboat enthusiast has set about recording the country's RNLI volunteers using Victorian photographic methods. By Francesca WilliamsBBC News Quietly spoken, Jack Lowe is a man on the verge of his dreams. A life-long love of photography and lifeboats has finally put him on the road around Britain's coast. Having given up the Newcastle printmaking business he ran for 15 years, he plans to record all 237 of the Royal National Lifeboat Institution's stations on glass plates with a 110-year-old camera. "It was like stepping towards the edge of a cliff and hoping that your flying suit would work," he says. "I wanted to make things again, things that are actually photo-graphy, drawing with light," he says. "Making light interact with chemicals and having a physical object people can refer to in 100 years' time. "The second thing is engagement, participation. It becomes a collaboration because their time is no more or less valuable than my time and we make it together. "Not only that, but they see within seconds the image appear. So they get an instant bit of reward for their efforts." Jack, 39, is quietly delighted by the effect the result has on its subjects. "Sometimes they're moved to tears," he says. "Tag, the Aldeburgh coxswain, we were just there together. His eyes welled up when he saw it appear out of the chemicals. "You pour fixer on the image and it switches from negative to positive before your eyes - magical." Joanna Quinn, from the RNLI, says the crews photographed so far have found it an "involving and exciting experience". "It's hard to articulate why the pictures are so effective but I think it's something to do with the fact that they look quite timeless," she says. "Lifeboat crews, though they change through the years - there are more women now, for example, than there ever have been - what they do has always been consistent. "They are always willing to go out and save lives at sea and I think that continuity and that history is something that's reflected in his pictures." This is the RNLI that "captivated" the eight-year-old Jack. Living on a boat at Teddington and Ramsgate harbour probably helped. As did visiting his dad on the Isle of Wight and seeing where Atlantic 21 lifeboats, which he thought were "so cool", were made. Jack spends at least a day at the lifeboat stations and the Victorian process he uses is not swift, like the instant click of a digital shutter. An image is produced on a glass plate - coated with chemicals and still wet - when it is exposed to light through the camera. A fixative stops the process and sets the picture - known as an ambrotype. Having converted his bedroom into a dark room at the age of 12, it is perhaps not surprising that Jack has done the same to an old ambulance, called Neena. The process has to be started and finished in about 15 minutes, unlike rolls of film which can be developed later, so he needs facilities to hand. The less light there is - specifically UV - the longer the camera's shutter has to remain open. If the subject moves, the image will blur. "These are four, five, six, seven-second exposures," Jack says. "It makes for beautiful work because they have a peace about them. "You have captured a few seconds in the glass. They've been thinking things and their hearts have been beating." With exposures of up to 12 seconds, willing participation is essential. An overcast location and the need to walk repeatedly between camera and dark room along a 150m (300ft) pier meant it took far longer than usual to photograph Cromer coxswain John Davies. "John isn't known for his patience with photographers," Jack says. "But there was a moment after about two and a half hours where he could tell that I was as dejected as he was. "I just sat down and put my head in my hands and I said, 'I'm really sorry about this John'. "He said to me - out of the blue, I didn't expect this at all - he said 'don't worry Jack, we'll crack this'. "This is an eighth generation Cromer coxswain. He's been at sea since four in the morning. He's the only one in the station. He's just there for the photograph." Jack's intention is for the RNLI to own the completed collection of glass ambrotypes, which the organisation says "would be a remarkable thing" for it to have. It is committed to sharing them with as many people as possible, through an exhibition, book or gallery, it says. Jack gives the first print from each ambrotype to the station or crew member and pays for the project - and "puts food on the table" - by selling further prints to anyone who wants them. With a loose rule of thumb to go north when it is warm and south when cold, he expects to visit Scotland next. And then, one day, after the four or five years his project will take, he will become a lifeboatman, he says. "I will be. I know I will be," he says.

Here is an summary requirement:
Summarize the reactions of the lifeboat crew members to their photographs.

Please summarize the above article based on the given requirement:

# Output (a):
Lifeboat crew members have found the Victorian photographic method used by Jack Lowe to be an "involving and exciting experience." The timeless appearance of the images has moved some subjects to tears, as they see the image appear out of the chemicals. The RNLI believes that the continuity and history of lifeboat crews are reflected in these photographs, making them particularly effective and meaningful.

# Output (b):
The lifeboat crew members have had a very positive reaction to their photographs taken by Jack Lowe. Many of them have been moved to tears, and they find the pictures to be timeless and reflective of the history of the RNLI. Jack's process of using a 110-year-old camera and glass plates to capture the images has been an involving and exciting experience for the crew members.

# Which is better, Output (a) or Output (b)? Your response should be either "Output (a)" or "Output (b)":

Output (a)

Instruction:
Here is an article:
A lifeboat enthusiast has set about recording the country's RNLI volunteers using Victorian photographic methods. By Francesca WilliamsBBC News Quietly spoken, Jack Lowe is a man on the verge of his dreams. A life-long love of photography and lifeboats has finally put him on the road around Britain's coast. Having given up the Newcastle printmaking business he ran for 15 years, he plans to record all 237 of the Royal National Lifeboat Institution's stations on glass plates with a 110-year-old camera. "It was like stepping towards the edge of a cliff and hoping that your flying suit would work," he says. "I wanted to make things again, things that are actually photo-graphy, drawing with light," he says. "Making light interact with chemicals and having a physical object people can refer to in 100 years' time. "The second thing is engagement, participation. It becomes a collaboration because their time is no more or less valuable than my time and we make it together. "Not only that, but they see within seconds the image appear. So they get an instant bit of reward for their efforts." Jack, 39, is quietly delighted by the effect the result has on its subjects. "Sometimes they're moved to tears," he says. "Tag, the Aldeburgh coxswain, we were just there together. His eyes welled up when he saw it appear out of the chemicals. "You pour fixer on the image and it switches from negative to positive before your eyes - magical." Joanna Quinn, from the RNLI, says the crews photographed so far have found it an "involving and exciting experience". "It's hard to articulate why the pictures are so effective but I think it's something to do with the fact that they look quite timeless," she says. "Lifeboat crews, though they change through the years - there are more women now, for example, than there ever have been - what they do has always been consistent. "They are always willing to go out and save lives at sea and I think that continuity and that history is something that's reflected in his pictures." This is the RNLI that "captivated" the eight-year-old Jack. Living on a boat at Teddington and Ramsgate harbour probably helped. As did visiting his dad on the Isle of Wight and seeing where Atlantic 21 lifeboats, which he thought were "so cool", were made. Jack spends at least a day at the lifeboat stations and the Victorian process he uses is not swift, like the instant click of a digital shutter. An image is produced on a glass plate - coated with chemicals and still wet - when it is exposed to light through the camera. A fixative stops the process and sets the picture - known as an ambrotype. Having converted his bedroom into a dark room at the age of 12, it is perhaps not surprising that Jack has done the same to an old ambulance, called Neena. The process has to be started and finished in about 15 minutes, unlike rolls of film which can be developed later, so he needs facilities to hand. The less light there is - specifically UV - the longer the camera's shutter has to remain open. If the subject moves, the image will blur. "These are four, five, six, seven-second exposures," Jack says. "It makes for beautiful work because they have a peace about them. "You have captured a few seconds in the glass. They've been thinking things and their hearts have been beating." With exposures of up to 12 seconds, willing participation is essential. An overcast location and the need to walk repeatedly between camera and dark room along a 150m (300ft) pier meant it took far longer than usual to photograph Cromer coxswain John Davies. "John isn't known for his patience with photographers," Jack says. "But there was a moment after about two and a half hours where he could tell that I was as dejected as he was. "I just sat down and put my head in my hands and I said, 'I'm really sorry about this John'. "He said to me - out of the blue, I didn't expect this at all - he said 'don't worry Jack, we'll crack this'. "This is an eighth generation Cromer coxswain. He's been at sea since four in the morning. He's the only one in the station. He's just there for the photograph." Jack's intention is for the RNLI to own the completed collection of glass ambrotypes, which the organisation says "would be a remarkable thing" for it to have. It is committed to sharing them with as many people as possible, through an exhibition, book or gallery, it says. Jack gives the first print from each ambrotype to the station or crew member and pays for the project - and "puts food on the table" - by selling further prints to anyone who wants them. With a loose rule of thumb to go north when it is warm and south when cold, he expects to visit Scotland next. And then, one day, after the four or five years his project will take, he will become a lifeboatman, he says. "I will be. I know I will be," he says.

Here is an summary requirement:
Summarize the reactions of the lifeboat crew members to their photographs.

Please summarize the above article based on the given requirement:

Lifeboat crew members have found the Victorian photographic method used by Jack Lowe to be an "involving and exciting experience." The timeless appearance of the images has moved some subjects to tears, as they see the image appear out of the chemicals. The RNLI believes that the continuity and history of lifeboat crews are reflected in these photographs, making them particularly effective and meaningful.

The lifeboat crew members have had a very positive reaction to their photographs taken by Jack Lowe. Many of them have been moved to tears, and they find the pictures to be timeless and reflective of the history of the RNLI. Jack's process of using a 110-year-old camera and glass plates to capture the images has been an involving and exciting experience for the crew members.


You are a helpful assistant in evaluating the quality of the outputs for a given instruction. Your goal is to select the best output for the given instruction.

Select the Output (a) or Output (b) that is better for the given instruction. The two outputs are generated by two different AI chatbots respectively.

Here are some rules of the evaluation:
(1) You should prioritize evaluating whether the output honestly/precisely/closely executes the instruction, then consider its helpfulness, accuracy, level of detail, harmlessness, etc.
(2) Outputs should NOT contain more/less than what the instruction asks for, as such outputs do NOT precisely execute the instruction.
(3) You should avoid any potential bias and your judgment should be as objective as possible. For example, the order in which the outputs were presented should NOT affect your judgment, as Output (a) and Output (b) are **equally likely** to be the better.

Do NOT provide any explanation for your choice.
Do NOT say both / neither are good.
You should answer using ONLY "Output (a)" or "Output (b)". Do NOT output any other words.

# Instruction:
Here is an article:
A lifeboat enthusiast has set about recording the country's RNLI volunteers using Victorian photographic methods. By Francesca WilliamsBBC News Quietly spoken, Jack Lowe is a man on the verge of his dreams. A life-long love of photography and lifeboats has finally put him on the road around Britain's coast. Having given up the Newcastle printmaking business he ran for 15 years, he plans to record all 237 of the Royal National Lifeboat Institution's stations on glass plates with a 110-year-old camera. "It was like stepping towards the edge of a cliff and hoping that your flying suit would work," he says. "I wanted to make things again, things that are actually photo-graphy, drawing with light," he says. "Making light interact with chemicals and having a physical object people can refer to in 100 years' time. "The second thing is engagement, participation. It becomes a collaboration because their time is no more or less valuable than my time and we make it together. "Not only that, but they see within seconds the image appear. So they get an instant bit of reward for their efforts." Jack, 39, is quietly delighted by the effect the result has on its subjects. "Sometimes they're moved to tears," he says. "Tag, the Aldeburgh coxswain, we were just there together. His eyes welled up when he saw it appear out of the chemicals. "You pour fixer on the image and it switches from negative to positive before your eyes - magical." Joanna Quinn, from the RNLI, says the crews photographed so far have found it an "involving and exciting experience". "It's hard to articulate why the pictures are so effective but I think it's something to do with the fact that they look quite timeless," she says. "Lifeboat crews, though they change through the years - there are more women now, for example, than there ever have been - what they do has always been consistent. "They are always willing to go out and save lives at sea and I think that continuity and that history is something that's reflected in his pictures." This is the RNLI that "captivated" the eight-year-old Jack. Living on a boat at Teddington and Ramsgate harbour probably helped. As did visiting his dad on the Isle of Wight and seeing where Atlantic 21 lifeboats, which he thought were "so cool", were made. Jack spends at least a day at the lifeboat stations and the Victorian process he uses is not swift, like the instant click of a digital shutter. An image is produced on a glass plate - coated with chemicals and still wet - when it is exposed to light through the camera. A fixative stops the process and sets the picture - known as an ambrotype. Having converted his bedroom into a dark room at the age of 12, it is perhaps not surprising that Jack has done the same to an old ambulance, called Neena. The process has to be started and finished in about 15 minutes, unlike rolls of film which can be developed later, so he needs facilities to hand. The less light there is - specifically UV - the longer the camera's shutter has to remain open. If the subject moves, the image will blur. "These are four, five, six, seven-second exposures," Jack says. "It makes for beautiful work because they have a peace about them. "You have captured a few seconds in the glass. They've been thinking things and their hearts have been beating." With exposures of up to 12 seconds, willing participation is essential. An overcast location and the need to walk repeatedly between camera and dark room along a 150m (300ft) pier meant it took far longer than usual to photograph Cromer coxswain John Davies. "John isn't known for his patience with photographers," Jack says. "But there was a moment after about two and a half hours where he could tell that I was as dejected as he was. "I just sat down and put my head in my hands and I said, 'I'm really sorry about this John'. "He said to me - out of the blue, I didn't expect this at all - he said 'don't worry Jack, we'll crack this'. "This is an eighth generation Cromer coxswain. He's been at sea since four in the morning. He's the only one in the station. He's just there for the photograph." Jack's intention is for the RNLI to own the completed collection of glass ambrotypes, which the organisation says "would be a remarkable thing" for it to have. It is committed to sharing them with as many people as possible, through an exhibition, book or gallery, it says. Jack gives the first print from each ambrotype to the station or crew member and pays for the project - and "puts food on the table" - by selling further prints to anyone who wants them. With a loose rule of thumb to go north when it is warm and south when cold, he expects to visit Scotland next. And then, one day, after the four or five years his project will take, he will become a lifeboatman, he says. "I will be. I know I will be," he says.

Here is an summary requirement:
Summarize the reactions of the lifeboat crew members to their photographs.

Please summarize the above article based on the given requirement:

# Output (a):
The lifeboat crew members who have been photographed by Jack Lowe using Victorian photographic methods have found the experience to be involving and exciting. The images are described as effective and timeless, reflecting the continuity and history of the Royal National Lifeboat Institution. The process of creating the images is slow and requires the willing participation of the subjects, but the end result is described as magical and has moved some crew members to tears. The RNLI plans to own the completed collection of glass ambrotypes and share them with as many people as possible through exhibitions, books, or galleries.

# Output (b):
Lifeboat crew members have found the Victorian photographic method used by Jack Lowe to be an "involving and exciting experience." The timeless appearance of the images has moved some subjects to tears, as they see the image appear out of the chemicals. The RNLI believes that the continuity and history of lifeboat crews are reflected in these photographs, making them particularly effective and meaningful.

# Which is better, Output (a) or Output (b)? Your response should be either "Output (a)" or "Output (b)":

Output (b)

Instruction:
Here is an article:
A lifeboat enthusiast has set about recording the country's RNLI volunteers using Victorian photographic methods. By Francesca WilliamsBBC News Quietly spoken, Jack Lowe is a man on the verge of his dreams. A life-long love of photography and lifeboats has finally put him on the road around Britain's coast. Having given up the Newcastle printmaking business he ran for 15 years, he plans to record all 237 of the Royal National Lifeboat Institution's stations on glass plates with a 110-year-old camera. "It was like stepping towards the edge of a cliff and hoping that your flying suit would work," he says. "I wanted to make things again, things that are actually photo-graphy, drawing with light," he says. "Making light interact with chemicals and having a physical object people can refer to in 100 years' time. "The second thing is engagement, participation. It becomes a collaboration because their time is no more or less valuable than my time and we make it together. "Not only that, but they see within seconds the image appear. So they get an instant bit of reward for their efforts." Jack, 39, is quietly delighted by the effect the result has on its subjects. "Sometimes they're moved to tears," he says. "Tag, the Aldeburgh coxswain, we were just there together. His eyes welled up when he saw it appear out of the chemicals. "You pour fixer on the image and it switches from negative to positive before your eyes - magical." Joanna Quinn, from the RNLI, says the crews photographed so far have found it an "involving and exciting experience". "It's hard to articulate why the pictures are so effective but I think it's something to do with the fact that they look quite timeless," she says. "Lifeboat crews, though they change through the years - there are more women now, for example, than there ever have been - what they do has always been consistent. "They are always willing to go out and save lives at sea and I think that continuity and that history is something that's reflected in his pictures." This is the RNLI that "captivated" the eight-year-old Jack. Living on a boat at Teddington and Ramsgate harbour probably helped. As did visiting his dad on the Isle of Wight and seeing where Atlantic 21 lifeboats, which he thought were "so cool", were made. Jack spends at least a day at the lifeboat stations and the Victorian process he uses is not swift, like the instant click of a digital shutter. An image is produced on a glass plate - coated with chemicals and still wet - when it is exposed to light through the camera. A fixative stops the process and sets the picture - known as an ambrotype. Having converted his bedroom into a dark room at the age of 12, it is perhaps not surprising that Jack has done the same to an old ambulance, called Neena. The process has to be started and finished in about 15 minutes, unlike rolls of film which can be developed later, so he needs facilities to hand. The less light there is - specifically UV - the longer the camera's shutter has to remain open. If the subject moves, the image will blur. "These are four, five, six, seven-second exposures," Jack says. "It makes for beautiful work because they have a peace about them. "You have captured a few seconds in the glass. They've been thinking things and their hearts have been beating." With exposures of up to 12 seconds, willing participation is essential. An overcast location and the need to walk repeatedly between camera and dark room along a 150m (300ft) pier meant it took far longer than usual to photograph Cromer coxswain John Davies. "John isn't known for his patience with photographers," Jack says. "But there was a moment after about two and a half hours where he could tell that I was as dejected as he was. "I just sat down and put my head in my hands and I said, 'I'm really sorry about this John'. "He said to me - out of the blue, I didn't expect this at all - he said 'don't worry Jack, we'll crack this'. "This is an eighth generation Cromer coxswain. He's been at sea since four in the morning. He's the only one in the station. He's just there for the photograph." Jack's intention is for the RNLI to own the completed collection of glass ambrotypes, which the organisation says "would be a remarkable thing" for it to have. It is committed to sharing them with as many people as possible, through an exhibition, book or gallery, it says. Jack gives the first print from each ambrotype to the station or crew member and pays for the project - and "puts food on the table" - by selling further prints to anyone who wants them. With a loose rule of thumb to go north when it is warm and south when cold, he expects to visit Scotland next. And then, one day, after the four or five years his project will take, he will become a lifeboatman, he says. "I will be. I know I will be," he says.

Here is an summary requirement:
Summarize the reactions of the lifeboat crew members to their photographs.

Please summarize the above article based on the given requirement:

The lifeboat crew members who have been photographed by Jack Lowe using Victorian photographic methods have found the experience to be involving and exciting. The images are described as effective and timeless, reflecting the continuity and history of the Royal National Lifeboat Institution. The process of creating the images is slow and requires the willing participation of the subjects, but the end result is described as magical and has moved some crew members to tears. The RNLI plans to own the completed collection of glass ambrotypes and share them with as many people as possible through exhibitions, books, or galleries.

Lifeboat crew members have found the Victorian photographic method used by Jack Lowe to be an "involving and exciting experience." The timeless appearance of the images has moved some subjects to tears, as they see the image appear out of the chemicals. The RNLI believes that the continuity and history of lifeboat crews are reflected in these photographs, making them particularly effective and meaningful.


You are a helpful assistant in evaluating the quality of the outputs for a given instruction. Your goal is to select the best output for the given instruction.

Select the Output (a) or Output (b) that is better for the given instruction. The two outputs are generated by two different AI chatbots respectively.

Here are some rules of the evaluation:
(1) You should prioritize evaluating whether the output honestly/precisely/closely executes the instruction, then consider its helpfulness, accuracy, level of detail, harmlessness, etc.
(2) Outputs should NOT contain more/less than what the instruction asks for, as such outputs do NOT precisely execute the instruction.
(3) You should avoid any potential bias and your judgment should be as objective as possible. For example, the order in which the outputs were presented should NOT affect your judgment, as Output (a) and Output (b) are **equally likely** to be the better.

Do NOT provide any explanation for your choice.
Do NOT say both / neither are good.
You should answer using ONLY "Output (a)" or "Output (b)". Do NOT output any other words.

# Instruction:
Here is an article:
A lifeboat enthusiast has set about recording the country's RNLI volunteers using Victorian photographic methods. By Francesca WilliamsBBC News Quietly spoken, Jack Lowe is a man on the verge of his dreams. A life-long love of photography and lifeboats has finally put him on the road around Britain's coast. Having given up the Newcastle printmaking business he ran for 15 years, he plans to record all 237 of the Royal National Lifeboat Institution's stations on glass plates with a 110-year-old camera. "It was like stepping towards the edge of a cliff and hoping that your flying suit would work," he says. "I wanted to make things again, things that are actually photo-graphy, drawing with light," he says. "Making light interact with chemicals and having a physical object people can refer to in 100 years' time. "The second thing is engagement, participation. It becomes a collaboration because their time is no more or less valuable than my time and we make it together. "Not only that, but they see within seconds the image appear. So they get an instant bit of reward for their efforts." Jack, 39, is quietly delighted by the effect the result has on its subjects. "Sometimes they're moved to tears," he says. "Tag, the Aldeburgh coxswain, we were just there together. His eyes welled up when he saw it appear out of the chemicals. "You pour fixer on the image and it switches from negative to positive before your eyes - magical." Joanna Quinn, from the RNLI, says the crews photographed so far have found it an "involving and exciting experience". "It's hard to articulate why the pictures are so effective but I think it's something to do with the fact that they look quite timeless," she says. "Lifeboat crews, though they change through the years - there are more women now, for example, than there ever have been - what they do has always been consistent. "They are always willing to go out and save lives at sea and I think that continuity and that history is something that's reflected in his pictures." This is the RNLI that "captivated" the eight-year-old Jack. Living on a boat at Teddington and Ramsgate harbour probably helped. As did visiting his dad on the Isle of Wight and seeing where Atlantic 21 lifeboats, which he thought were "so cool", were made. Jack spends at least a day at the lifeboat stations and the Victorian process he uses is not swift, like the instant click of a digital shutter. An image is produced on a glass plate - coated with chemicals and still wet - when it is exposed to light through the camera. A fixative stops the process and sets the picture - known as an ambrotype. Having converted his bedroom into a dark room at the age of 12, it is perhaps not surprising that Jack has done the same to an old ambulance, called Neena. The process has to be started and finished in about 15 minutes, unlike rolls of film which can be developed later, so he needs facilities to hand. The less light there is - specifically UV - the longer the camera's shutter has to remain open. If the subject moves, the image will blur. "These are four, five, six, seven-second exposures," Jack says. "It makes for beautiful work because they have a peace about them. "You have captured a few seconds in the glass. They've been thinking things and their hearts have been beating." With exposures of up to 12 seconds, willing participation is essential. An overcast location and the need to walk repeatedly between camera and dark room along a 150m (300ft) pier meant it took far longer than usual to photograph Cromer coxswain John Davies. "John isn't known for his patience with photographers," Jack says. "But there was a moment after about two and a half hours where he could tell that I was as dejected as he was. "I just sat down and put my head in my hands and I said, 'I'm really sorry about this John'. "He said to me - out of the blue, I didn't expect this at all - he said 'don't worry Jack, we'll crack this'. "This is an eighth generation Cromer coxswain. He's been at sea since four in the morning. He's the only one in the station. He's just there for the photograph." Jack's intention is for the RNLI to own the completed collection of glass ambrotypes, which the organisation says "would be a remarkable thing" for it to have. It is committed to sharing them with as many people as possible, through an exhibition, book or gallery, it says. Jack gives the first print from each ambrotype to the station or crew member and pays for the project - and "puts food on the table" - by selling further prints to anyone who wants them. With a loose rule of thumb to go north when it is warm and south when cold, he expects to visit Scotland next. And then, one day, after the four or five years his project will take, he will become a lifeboatman, he says. "I will be. I know I will be," he says.

Here is an summary requirement:
Summarize the reactions of the lifeboat crew members to their photographs.

Please summarize the above article based on the given requirement:

# Output (a):
Lifeboat crew members have found the Victorian photographic method used by Jack Lowe to be an "involving and exciting experience." The timeless appearance of the images has moved some subjects to tears, as they see the image appear out of the chemicals. The RNLI believes that the continuity and history of lifeboat crews are reflected in these photographs, making them particularly effective and meaningful.

# Output (b):
The timeless appearance of the images has moved some subjects to tears, as they see the image appear out of the chemicals. The RNLI believes that the continuity and history of lifeboat crews are reflected in these photographs, making them particularly effective and meaningful

# Which is better, Output (a) or Output (b)? Your response should be either "Output (a)" or "Output (b)":

Output (a)

Instruction:
Here is an article:
A lifeboat enthusiast has set about recording the country's RNLI volunteers using Victorian photographic methods. By Francesca WilliamsBBC News Quietly spoken, Jack Lowe is a man on the verge of his dreams. A life-long love of photography and lifeboats has finally put him on the road around Britain's coast. Having given up the Newcastle printmaking business he ran for 15 years, he plans to record all 237 of the Royal National Lifeboat Institution's stations on glass plates with a 110-year-old camera. "It was like stepping towards the edge of a cliff and hoping that your flying suit would work," he says. "I wanted to make things again, things that are actually photo-graphy, drawing with light," he says. "Making light interact with chemicals and having a physical object people can refer to in 100 years' time. "The second thing is engagement, participation. It becomes a collaboration because their time is no more or less valuable than my time and we make it together. "Not only that, but they see within seconds the image appear. So they get an instant bit of reward for their efforts." Jack, 39, is quietly delighted by the effect the result has on its subjects. "Sometimes they're moved to tears," he says. "Tag, the Aldeburgh coxswain, we were just there together. His eyes welled up when he saw it appear out of the chemicals. "You pour fixer on the image and it switches from negative to positive before your eyes - magical." Joanna Quinn, from the RNLI, says the crews photographed so far have found it an "involving and exciting experience". "It's hard to articulate why the pictures are so effective but I think it's something to do with the fact that they look quite timeless," she says. "Lifeboat crews, though they change through the years - there are more women now, for example, than there ever have been - what they do has always been consistent. "They are always willing to go out and save lives at sea and I think that continuity and that history is something that's reflected in his pictures." This is the RNLI that "captivated" the eight-year-old Jack. Living on a boat at Teddington and Ramsgate harbour probably helped. As did visiting his dad on the Isle of Wight and seeing where Atlantic 21 lifeboats, which he thought were "so cool", were made. Jack spends at least a day at the lifeboat stations and the Victorian process he uses is not swift, like the instant click of a digital shutter. An image is produced on a glass plate - coated with chemicals and still wet - when it is exposed to light through the camera. A fixative stops the process and sets the picture - known as an ambrotype. Having converted his bedroom into a dark room at the age of 12, it is perhaps not surprising that Jack has done the same to an old ambulance, called Neena. The process has to be started and finished in about 15 minutes, unlike rolls of film which can be developed later, so he needs facilities to hand. The less light there is - specifically UV - the longer the camera's shutter has to remain open. If the subject moves, the image will blur. "These are four, five, six, seven-second exposures," Jack says. "It makes for beautiful work because they have a peace about them. "You have captured a few seconds in the glass. They've been thinking things and their hearts have been beating." With exposures of up to 12 seconds, willing participation is essential. An overcast location and the need to walk repeatedly between camera and dark room along a 150m (300ft) pier meant it took far longer than usual to photograph Cromer coxswain John Davies. "John isn't known for his patience with photographers," Jack says. "But there was a moment after about two and a half hours where he could tell that I was as dejected as he was. "I just sat down and put my head in my hands and I said, 'I'm really sorry about this John'. "He said to me - out of the blue, I didn't expect this at all - he said 'don't worry Jack, we'll crack this'. "This is an eighth generation Cromer coxswain. He's been at sea since four in the morning. He's the only one in the station. He's just there for the photograph." Jack's intention is for the RNLI to own the completed collection of glass ambrotypes, which the organisation says "would be a remarkable thing" for it to have. It is committed to sharing them with as many people as possible, through an exhibition, book or gallery, it says. Jack gives the first print from each ambrotype to the station or crew member and pays for the project - and "puts food on the table" - by selling further prints to anyone who wants them. With a loose rule of thumb to go north when it is warm and south when cold, he expects to visit Scotland next. And then, one day, after the four or five years his project will take, he will become a lifeboatman, he says. "I will be. I know I will be," he says.

Here is an summary requirement:
Summarize the reactions of the lifeboat crew members to their photographs.

Please summarize the above article based on the given requirement:

Lifeboat crew members have found the Victorian photographic method used by Jack Lowe to be an "involving and exciting experience." The timeless appearance of the images has moved some subjects to tears, as they see the image appear out of the chemicals. The RNLI believes that the continuity and history of lifeboat crews are reflected in these photographs, making them particularly effective and meaningful.


You are a helpful assistant in evaluating the quality of the outputs for a given instruction. Your goal is to select the best output for the given instruction.

Select the Output (a) or Output (b) that is better for the given instruction. The two outputs are generated by two different AI chatbots respectively.

Here are some rules of the evaluation:
(1) You should prioritize evaluating whether the output honestly/precisely/closely executes the instruction, then consider its helpfulness, accuracy, level of detail, harmlessness, etc.
(2) Outputs should NOT contain more/less than what the instruction asks for, as such outputs do NOT precisely execute the instruction.
(3) You should avoid any potential bias and your judgment should be as objective as possible. For example, the order in which the outputs were presented should NOT affect your judgment, as Output (a) and Output (b) are **equally likely** to be the better.

Do NOT provide any explanation for your choice.
Do NOT say both / neither are good.
You should answer using ONLY "Output (a)" or "Output (b)". Do NOT output any other words.

# Instruction:
Here is an article:
A lifeboat enthusiast has set about recording the country's RNLI volunteers using Victorian photographic methods. By Francesca WilliamsBBC News Quietly spoken, Jack Lowe is a man on the verge of his dreams. A life-long love of photography and lifeboats has finally put him on the road around Britain's coast. Having given up the Newcastle printmaking business he ran for 15 years, he plans to record all 237 of the Royal National Lifeboat Institution's stations on glass plates with a 110-year-old camera. "It was like stepping towards the edge of a cliff and hoping that your flying suit would work," he says. "I wanted to make things again, things that are actually photo-graphy, drawing with light," he says. "Making light interact with chemicals and having a physical object people can refer to in 100 years' time. "The second thing is engagement, participation. It becomes a collaboration because their time is no more or less valuable than my time and we make it together. "Not only that, but they see within seconds the image appear. So they get an instant bit of reward for their efforts." Jack, 39, is quietly delighted by the effect the result has on its subjects. "Sometimes they're moved to tears," he says. "Tag, the Aldeburgh coxswain, we were just there together. His eyes welled up when he saw it appear out of the chemicals. "You pour fixer on the image and it switches from negative to positive before your eyes - magical." Joanna Quinn, from the RNLI, says the crews photographed so far have found it an "involving and exciting experience". "It's hard to articulate why the pictures are so effective but I think it's something to do with the fact that they look quite timeless," she says. "Lifeboat crews, though they change through the years - there are more women now, for example, than there ever have been - what they do has always been consistent. "They are always willing to go out and save lives at sea and I think that continuity and that history is something that's reflected in his pictures." This is the RNLI that "captivated" the eight-year-old Jack. Living on a boat at Teddington and Ramsgate harbour probably helped. As did visiting his dad on the Isle of Wight and seeing where Atlantic 21 lifeboats, which he thought were "so cool", were made. Jack spends at least a day at the lifeboat stations and the Victorian process he uses is not swift, like the instant click of a digital shutter. An image is produced on a glass plate - coated with chemicals and still wet - when it is exposed to light through the camera. A fixative stops the process and sets the picture - known as an ambrotype. Having converted his bedroom into a dark room at the age of 12, it is perhaps not surprising that Jack has done the same to an old ambulance, called Neena. The process has to be started and finished in about 15 minutes, unlike rolls of film which can be developed later, so he needs facilities to hand. The less light there is - specifically UV - the longer the camera's shutter has to remain open. If the subject moves, the image will blur. "These are four, five, six, seven-second exposures," Jack says. "It makes for beautiful work because they have a peace about them. "You have captured a few seconds in the glass. They've been thinking things and their hearts have been beating." With exposures of up to 12 seconds, willing participation is essential. An overcast location and the need to walk repeatedly between camera and dark room along a 150m (300ft) pier meant it took far longer than usual to photograph Cromer coxswain John Davies. "John isn't known for his patience with photographers," Jack says. "But there was a moment after about two and a half hours where he could tell that I was as dejected as he was. "I just sat down and put my head in my hands and I said, 'I'm really sorry about this John'. "He said to me - out of the blue, I didn't expect this at all - he said 'don't worry Jack, we'll crack this'. "This is an eighth generation Cromer coxswain. He's been at sea since four in the morning. He's the only one in the station. He's just there for the photograph." Jack's intention is for the RNLI to own the completed collection of glass ambrotypes, which the organisation says "would be a remarkable thing" for it to have. It is committed to sharing them with as many people as possible, through an exhibition, book or gallery, it says. Jack gives the first print from each ambrotype to the station or crew member and pays for the project - and "puts food on the table" - by selling further prints to anyone who wants them. With a loose rule of thumb to go north when it is warm and south when cold, he expects to visit Scotland next. And then, one day, after the four or five years his project will take, he will become a lifeboatman, he says. "I will be. I know I will be," he says.

Here is an summary requirement:
Summarize Jack Lowe's background and his passion for photography and lifeboats.

Please summarize the above article based on the given requirement:

# Output (a):
Jack Lowe is a man with a lifelong passion for photography and lifeboats. He has given up his printmaking business to travel around Britain's coast and record all 237 of the Royal National Lifeboat Institution's stations on glass plates with a 110-year-old camera. Jack's intention is for the RNLI to own the completed collection of glass ambrotypes, which the organization says "would be a remarkable thing" for it to have. He spends at least a day at the lifeboat stations and uses a Victorian photographic process that is not swift, like the instant click of a digital shutter. An image is produced on a glass plate - coated with chemicals and still wet - when it is exposed to light through the camera.

# Output (b):
Jack Lowe is a lifeboat enthusiast and photographer who has set out to record the country's RNLI volunteers using Victorian photographic methods. He has given up his Newcastle printmaking business and is travelling around Britain's coast to photograph all 237 of the Royal National Lifeboat Institution's stations with a 110-year-old camera. Jack has had a lifelong love of photography and lifeboats, and his passion for the RNLI began when he was 8 years old. He has converted an old ambulance into a darkroom and is committed to giving the first print from each ambrotype to the station or crew member. He plans to complete the project in four or five years and hopes to become a lifeboatman one day.

# Which is better, Output (a) or Output (b)? Your response should be either "Output (a)" or "Output (b)":

Output (b)

Instruction:
Here is an article:
A lifeboat enthusiast has set about recording the country's RNLI volunteers using Victorian photographic methods. By Francesca WilliamsBBC News Quietly spoken, Jack Lowe is a man on the verge of his dreams. A life-long love of photography and lifeboats has finally put him on the road around Britain's coast. Having given up the Newcastle printmaking business he ran for 15 years, he plans to record all 237 of the Royal National Lifeboat Institution's stations on glass plates with a 110-year-old camera. "It was like stepping towards the edge of a cliff and hoping that your flying suit would work," he says. "I wanted to make things again, things that are actually photo-graphy, drawing with light," he says. "Making light interact with chemicals and having a physical object people can refer to in 100 years' time. "The second thing is engagement, participation. It becomes a collaboration because their time is no more or less valuable than my time and we make it together. "Not only that, but they see within seconds the image appear. So they get an instant bit of reward for their efforts." Jack, 39, is quietly delighted by the effect the result has on its subjects. "Sometimes they're moved to tears," he says. "Tag, the Aldeburgh coxswain, we were just there together. His eyes welled up when he saw it appear out of the chemicals. "You pour fixer on the image and it switches from negative to positive before your eyes - magical." Joanna Quinn, from the RNLI, says the crews photographed so far have found it an "involving and exciting experience". "It's hard to articulate why the pictures are so effective but I think it's something to do with the fact that they look quite timeless," she says. "Lifeboat crews, though they change through the years - there are more women now, for example, than there ever have been - what they do has always been consistent. "They are always willing to go out and save lives at sea and I think that continuity and that history is something that's reflected in his pictures." This is the RNLI that "captivated" the eight-year-old Jack. Living on a boat at Teddington and Ramsgate harbour probably helped. As did visiting his dad on the Isle of Wight and seeing where Atlantic 21 lifeboats, which he thought were "so cool", were made. Jack spends at least a day at the lifeboat stations and the Victorian process he uses is not swift, like the instant click of a digital shutter. An image is produced on a glass plate - coated with chemicals and still wet - when it is exposed to light through the camera. A fixative stops the process and sets the picture - known as an ambrotype. Having converted his bedroom into a dark room at the age of 12, it is perhaps not surprising that Jack has done the same to an old ambulance, called Neena. The process has to be started and finished in about 15 minutes, unlike rolls of film which can be developed later, so he needs facilities to hand. The less light there is - specifically UV - the longer the camera's shutter has to remain open. If the subject moves, the image will blur. "These are four, five, six, seven-second exposures," Jack says. "It makes for beautiful work because they have a peace about them. "You have captured a few seconds in the glass. They've been thinking things and their hearts have been beating." With exposures of up to 12 seconds, willing participation is essential. An overcast location and the need to walk repeatedly between camera and dark room along a 150m (300ft) pier meant it took far longer than usual to photograph Cromer coxswain John Davies. "John isn't known for his patience with photographers," Jack says. "But there was a moment after about two and a half hours where he could tell that I was as dejected as he was. "I just sat down and put my head in my hands and I said, 'I'm really sorry about this John'. "He said to me - out of the blue, I didn't expect this at all - he said 'don't worry Jack, we'll crack this'. "This is an eighth generation Cromer coxswain. He's been at sea since four in the morning. He's the only one in the station. He's just there for the photograph." Jack's intention is for the RNLI to own the completed collection of glass ambrotypes, which the organisation says "would be a remarkable thing" for it to have. It is committed to sharing them with as many people as possible, through an exhibition, book or gallery, it says. Jack gives the first print from each ambrotype to the station or crew member and pays for the project - and "puts food on the table" - by selling further prints to anyone who wants them. With a loose rule of thumb to go north when it is warm and south when cold, he expects to visit Scotland next. And then, one day, after the four or five years his project will take, he will become a lifeboatman, he says. "I will be. I know I will be," he says.

Here is an summary requirement:
Summarize Jack Lowe's background and his passion for photography and lifeboats.

Please summarize the above article based on the given requirement:

Jack Lowe is a man with a lifelong passion for photography and lifeboats. He has given up his printmaking business to travel around Britain's coast and record all 237 of the Royal National Lifeboat Institution's stations on glass plates with a 110-year-old camera. Jack's intention is for the RNLI to own the completed collection of glass ambrotypes, which the organization says "would be a remarkable thing" for it to have. He spends at least a day at the lifeboat stations and uses a Victorian photographic process that is not swift, like the instant click of a digital shutter. An image is produced on a glass plate - coated with chemicals and still wet - when it is exposed to light through the camera.

Jack Lowe is a lifeboat enthusiast and photographer who has set out to record the country's RNLI volunteers using Victorian photographic methods. He has given up his Newcastle printmaking business and is travelling around Britain's coast to photograph all 237 of the Royal National Lifeboat Institution's stations with a 110-year-old camera. Jack has had a lifelong love of photography and lifeboats, and his passion for the RNLI began when he was 8 years old. He has converted an old ambulance into a darkroom and is committed to giving the first print from each ambrotype to the station or crew member. He plans to complete the project in four or five years and hopes to become a lifeboatman one day.


You are a helpful assistant in evaluating the quality of the outputs for a given instruction. Your goal is to select the best output for the given instruction.

Select the Output (a) or Output (b) that is better for the given instruction. The two outputs are generated by two different AI chatbots respectively.

Here are some rules of the evaluation:
(1) You should prioritize evaluating whether the output honestly/precisely/closely executes the instruction, then consider its helpfulness, accuracy, level of detail, harmlessness, etc.
(2) Outputs should NOT contain more/less than what the instruction asks for, as such outputs do NOT precisely execute the instruction.
(3) You should avoid any potential bias and your judgment should be as objective as possible. For example, the order in which the outputs were presented should NOT affect your judgment, as Output (a) and Output (b) are **equally likely** to be the better.

Do NOT provide any explanation for your choice.
Do NOT say both / neither are good.
You should answer using ONLY "Output (a)" or "Output (b)". Do NOT output any other words.

# Instruction:
Here is an article:
A lifeboat enthusiast has set about recording the country's RNLI volunteers using Victorian photographic methods. By Francesca WilliamsBBC News Quietly spoken, Jack Lowe is a man on the verge of his dreams. A life-long love of photography and lifeboats has finally put him on the road around Britain's coast. Having given up the Newcastle printmaking business he ran for 15 years, he plans to record all 237 of the Royal National Lifeboat Institution's stations on glass plates with a 110-year-old camera. "It was like stepping towards the edge of a cliff and hoping that your flying suit would work," he says. "I wanted to make things again, things that are actually photo-graphy, drawing with light," he says. "Making light interact with chemicals and having a physical object people can refer to in 100 years' time. "The second thing is engagement, participation. It becomes a collaboration because their time is no more or less valuable than my time and we make it together. "Not only that, but they see within seconds the image appear. So they get an instant bit of reward for their efforts." Jack, 39, is quietly delighted by the effect the result has on its subjects. "Sometimes they're moved to tears," he says. "Tag, the Aldeburgh coxswain, we were just there together. His eyes welled up when he saw it appear out of the chemicals. "You pour fixer on the image and it switches from negative to positive before your eyes - magical." Joanna Quinn, from the RNLI, says the crews photographed so far have found it an "involving and exciting experience". "It's hard to articulate why the pictures are so effective but I think it's something to do with the fact that they look quite timeless," she says. "Lifeboat crews, though they change through the years - there are more women now, for example, than there ever have been - what they do has always been consistent. "They are always willing to go out and save lives at sea and I think that continuity and that history is something that's reflected in his pictures." This is the RNLI that "captivated" the eight-year-old Jack. Living on a boat at Teddington and Ramsgate harbour probably helped. As did visiting his dad on the Isle of Wight and seeing where Atlantic 21 lifeboats, which he thought were "so cool", were made. Jack spends at least a day at the lifeboat stations and the Victorian process he uses is not swift, like the instant click of a digital shutter. An image is produced on a glass plate - coated with chemicals and still wet - when it is exposed to light through the camera. A fixative stops the process and sets the picture - known as an ambrotype. Having converted his bedroom into a dark room at the age of 12, it is perhaps not surprising that Jack has done the same to an old ambulance, called Neena. The process has to be started and finished in about 15 minutes, unlike rolls of film which can be developed later, so he needs facilities to hand. The less light there is - specifically UV - the longer the camera's shutter has to remain open. If the subject moves, the image will blur. "These are four, five, six, seven-second exposures," Jack says. "It makes for beautiful work because they have a peace about them. "You have captured a few seconds in the glass. They've been thinking things and their hearts have been beating." With exposures of up to 12 seconds, willing participation is essential. An overcast location and the need to walk repeatedly between camera and dark room along a 150m (300ft) pier meant it took far longer than usual to photograph Cromer coxswain John Davies. "John isn't known for his patience with photographers," Jack says. "But there was a moment after about two and a half hours where he could tell that I was as dejected as he was. "I just sat down and put my head in my hands and I said, 'I'm really sorry about this John'. "He said to me - out of the blue, I didn't expect this at all - he said 'don't worry Jack, we'll crack this'. "This is an eighth generation Cromer coxswain. He's been at sea since four in the morning. He's the only one in the station. He's just there for the photograph." Jack's intention is for the RNLI to own the completed collection of glass ambrotypes, which the organisation says "would be a remarkable thing" for it to have. It is committed to sharing them with as many people as possible, through an exhibition, book or gallery, it says. Jack gives the first print from each ambrotype to the station or crew member and pays for the project - and "puts food on the table" - by selling further prints to anyone who wants them. With a loose rule of thumb to go north when it is warm and south when cold, he expects to visit Scotland next. And then, one day, after the four or five years his project will take, he will become a lifeboatman, he says. "I will be. I know I will be," he says.

Here is an summary requirement:
Summarize Jack Lowe's background and his passion for photography and lifeboats.

Please summarize the above article based on the given requirement:

# Output (a):
Jack Lowe is a lifeboat enthusiast and photographer who has embarked on a journey to document all 237 Royal National Lifeboat Institution's stations using a 110-year-old camera and Victorian photographic methods. With a lifelong love for photography and lifeboats, Lowe gave up his Newcastle printmaking business to pursue this passion project. He aims to create timeless images that capture the essence of lifeboat crews and their dedication to saving lives at sea.

# Output (b):
Jack Lowe is a lifeboat enthusiast and photographer who has set out to record the country's RNLI volunteers using Victorian photographic methods. He has given up his Newcastle printmaking business and is travelling around Britain's coast to photograph all 237 of the Royal National Lifeboat Institution's stations with a 110-year-old camera. Jack has had a lifelong love of photography and lifeboats, and his passion for the RNLI began when he was 8 years old. He has converted an old ambulance into a darkroom and is committed to giving the first print from each ambrotype to the station or crew member. He plans to complete the project in four or five years and hopes to become a lifeboatman one day.

# Which is better, Output (a) or Output (b)? Your response should be either "Output (a)" or "Output (b)":

Output (b)

Instruction:
Here is an article:
A lifeboat enthusiast has set about recording the country's RNLI volunteers using Victorian photographic methods. By Francesca WilliamsBBC News Quietly spoken, Jack Lowe is a man on the verge of his dreams. A life-long love of photography and lifeboats has finally put him on the road around Britain's coast. Having given up the Newcastle printmaking business he ran for 15 years, he plans to record all 237 of the Royal National Lifeboat Institution's stations on glass plates with a 110-year-old camera. "It was like stepping towards the edge of a cliff and hoping that your flying suit would work," he says. "I wanted to make things again, things that are actually photo-graphy, drawing with light," he says. "Making light interact with chemicals and having a physical object people can refer to in 100 years' time. "The second thing is engagement, participation. It becomes a collaboration because their time is no more or less valuable than my time and we make it together. "Not only that, but they see within seconds the image appear. So they get an instant bit of reward for their efforts." Jack, 39, is quietly delighted by the effect the result has on its subjects. "Sometimes they're moved to tears," he says. "Tag, the Aldeburgh coxswain, we were just there together. His eyes welled up when he saw it appear out of the chemicals. "You pour fixer on the image and it switches from negative to positive before your eyes - magical." Joanna Quinn, from the RNLI, says the crews photographed so far have found it an "involving and exciting experience". "It's hard to articulate why the pictures are so effective but I think it's something to do with the fact that they look quite timeless," she says. "Lifeboat crews, though they change through the years - there are more women now, for example, than there ever have been - what they do has always been consistent. "They are always willing to go out and save lives at sea and I think that continuity and that history is something that's reflected in his pictures." This is the RNLI that "captivated" the eight-year-old Jack. Living on a boat at Teddington and Ramsgate harbour probably helped. As did visiting his dad on the Isle of Wight and seeing where Atlantic 21 lifeboats, which he thought were "so cool", were made. Jack spends at least a day at the lifeboat stations and the Victorian process he uses is not swift, like the instant click of a digital shutter. An image is produced on a glass plate - coated with chemicals and still wet - when it is exposed to light through the camera. A fixative stops the process and sets the picture - known as an ambrotype. Having converted his bedroom into a dark room at the age of 12, it is perhaps not surprising that Jack has done the same to an old ambulance, called Neena. The process has to be started and finished in about 15 minutes, unlike rolls of film which can be developed later, so he needs facilities to hand. The less light there is - specifically UV - the longer the camera's shutter has to remain open. If the subject moves, the image will blur. "These are four, five, six, seven-second exposures," Jack says. "It makes for beautiful work because they have a peace about them. "You have captured a few seconds in the glass. They've been thinking things and their hearts have been beating." With exposures of up to 12 seconds, willing participation is essential. An overcast location and the need to walk repeatedly between camera and dark room along a 150m (300ft) pier meant it took far longer than usual to photograph Cromer coxswain John Davies. "John isn't known for his patience with photographers," Jack says. "But there was a moment after about two and a half hours where he could tell that I was as dejected as he was. "I just sat down and put my head in my hands and I said, 'I'm really sorry about this John'. "He said to me - out of the blue, I didn't expect this at all - he said 'don't worry Jack, we'll crack this'. "This is an eighth generation Cromer coxswain. He's been at sea since four in the morning. He's the only one in the station. He's just there for the photograph." Jack's intention is for the RNLI to own the completed collection of glass ambrotypes, which the organisation says "would be a remarkable thing" for it to have. It is committed to sharing them with as many people as possible, through an exhibition, book or gallery, it says. Jack gives the first print from each ambrotype to the station or crew member and pays for the project - and "puts food on the table" - by selling further prints to anyone who wants them. With a loose rule of thumb to go north when it is warm and south when cold, he expects to visit Scotland next. And then, one day, after the four or five years his project will take, he will become a lifeboatman, he says. "I will be. I know I will be," he says.

Here is an summary requirement:
Summarize Jack Lowe's background and his passion for photography and lifeboats.

Please summarize the above article based on the given requirement:

Jack Lowe is a lifeboat enthusiast and photographer who has embarked on a journey to document all 237 Royal National Lifeboat Institution's stations using a 110-year-old camera and Victorian photographic methods. With a lifelong love for photography and lifeboats, Lowe gave up his Newcastle printmaking business to pursue this passion project. He aims to create timeless images that capture the essence of lifeboat crews and their dedication to saving lives at sea.

Jack Lowe is a lifeboat enthusiast and photographer who has set out to record the country's RNLI volunteers using Victorian photographic methods. He has given up his Newcastle printmaking business and is travelling around Britain's coast to photograph all 237 of the Royal National Lifeboat Institution's stations with a 110-year-old camera. Jack has had a lifelong love of photography and lifeboats, and his passion for the RNLI began when he was 8 years old. He has converted an old ambulance into a darkroom and is committed to giving the first print from each ambrotype to the station or crew member. He plans to complete the project in four or five years and hopes to become a lifeboatman one day.


You are a helpful assistant in evaluating the quality of the outputs for a given instruction. Your goal is to select the best output for the given instruction.

Select the Output (a) or Output (b) that is better for the given instruction. The two outputs are generated by two different AI chatbots respectively.

Here are some rules of the evaluation:
(1) You should prioritize evaluating whether the output honestly/precisely/closely executes the instruction, then consider its helpfulness, accuracy, level of detail, harmlessness, etc.
(2) Outputs should NOT contain more/less than what the instruction asks for, as such outputs do NOT precisely execute the instruction.
(3) You should avoid any potential bias and your judgment should be as objective as possible. For example, the order in which the outputs were presented should NOT affect your judgment, as Output (a) and Output (b) are **equally likely** to be the better.

Do NOT provide any explanation for your choice.
Do NOT say both / neither are good.
You should answer using ONLY "Output (a)" or "Output (b)". Do NOT output any other words.

# Instruction:
Here is an article:
A lifeboat enthusiast has set about recording the country's RNLI volunteers using Victorian photographic methods. By Francesca WilliamsBBC News Quietly spoken, Jack Lowe is a man on the verge of his dreams. A life-long love of photography and lifeboats has finally put him on the road around Britain's coast. Having given up the Newcastle printmaking business he ran for 15 years, he plans to record all 237 of the Royal National Lifeboat Institution's stations on glass plates with a 110-year-old camera. "It was like stepping towards the edge of a cliff and hoping that your flying suit would work," he says. "I wanted to make things again, things that are actually photo-graphy, drawing with light," he says. "Making light interact with chemicals and having a physical object people can refer to in 100 years' time. "The second thing is engagement, participation. It becomes a collaboration because their time is no more or less valuable than my time and we make it together. "Not only that, but they see within seconds the image appear. So they get an instant bit of reward for their efforts." Jack, 39, is quietly delighted by the effect the result has on its subjects. "Sometimes they're moved to tears," he says. "Tag, the Aldeburgh coxswain, we were just there together. His eyes welled up when he saw it appear out of the chemicals. "You pour fixer on the image and it switches from negative to positive before your eyes - magical." Joanna Quinn, from the RNLI, says the crews photographed so far have found it an "involving and exciting experience". "It's hard to articulate why the pictures are so effective but I think it's something to do with the fact that they look quite timeless," she says. "Lifeboat crews, though they change through the years - there are more women now, for example, than there ever have been - what they do has always been consistent. "They are always willing to go out and save lives at sea and I think that continuity and that history is something that's reflected in his pictures." This is the RNLI that "captivated" the eight-year-old Jack. Living on a boat at Teddington and Ramsgate harbour probably helped. As did visiting his dad on the Isle of Wight and seeing where Atlantic 21 lifeboats, which he thought were "so cool", were made. Jack spends at least a day at the lifeboat stations and the Victorian process he uses is not swift, like the instant click of a digital shutter. An image is produced on a glass plate - coated with chemicals and still wet - when it is exposed to light through the camera. A fixative stops the process and sets the picture - known as an ambrotype. Having converted his bedroom into a dark room at the age of 12, it is perhaps not surprising that Jack has done the same to an old ambulance, called Neena. The process has to be started and finished in about 15 minutes, unlike rolls of film which can be developed later, so he needs facilities to hand. The less light there is - specifically UV - the longer the camera's shutter has to remain open. If the subject moves, the image will blur. "These are four, five, six, seven-second exposures," Jack says. "It makes for beautiful work because they have a peace about them. "You have captured a few seconds in the glass. They've been thinking things and their hearts have been beating." With exposures of up to 12 seconds, willing participation is essential. An overcast location and the need to walk repeatedly between camera and dark room along a 150m (300ft) pier meant it took far longer than usual to photograph Cromer coxswain John Davies. "John isn't known for his patience with photographers," Jack says. "But there was a moment after about two and a half hours where he could tell that I was as dejected as he was. "I just sat down and put my head in my hands and I said, 'I'm really sorry about this John'. "He said to me - out of the blue, I didn't expect this at all - he said 'don't worry Jack, we'll crack this'. "This is an eighth generation Cromer coxswain. He's been at sea since four in the morning. He's the only one in the station. He's just there for the photograph." Jack's intention is for the RNLI to own the completed collection of glass ambrotypes, which the organisation says "would be a remarkable thing" for it to have. It is committed to sharing them with as many people as possible, through an exhibition, book or gallery, it says. Jack gives the first print from each ambrotype to the station or crew member and pays for the project - and "puts food on the table" - by selling further prints to anyone who wants them. With a loose rule of thumb to go north when it is warm and south when cold, he expects to visit Scotland next. And then, one day, after the four or five years his project will take, he will become a lifeboatman, he says. "I will be. I know I will be," he says.

Here is an summary requirement:
Summarize Jack Lowe's background and his passion for photography and lifeboats.

Please summarize the above article based on the given requirement:

# Output (a):
Jack Lowe is a lifeboat enthusiast and photographer who has embarked on a journey to document all 237 Royal National Lifeboat Institution's stations using a 110-year-old camera and Victorian photographic methods. With a lifelong love for photography and lifeboats, Lowe gave up his Newcastle printmaking business to pursue this passion project. He aims to create timeless images that capture the essence of lifeboat crews and their dedication to saving lives at sea.

# Output (b):
Jack Lowe is a lifeboat enthusiast and photographer who has set out to record the country's RNLI volunteers using Victorian photographic methods. He has given up his Newcastle printmaking business and is travelling around Britain's coast to photograph all 237 of the Royal National Lifeboat Institution's stations with a 110-year-old camera. Jack has had a lifelong love of photography and lifeboats, and his passion for the RNLI began when he was 8 years old. He has converted an old ambulance into a darkroom and is committed to giving the first print from each ambrotype to the station or crew member. He plans to complete the project in four or five years and hopes to become a lifeboatman one day.

# Which is better, Output (a) or Output (b)? Your response should be either "Output (a)" or "Output (b)":

Output (b)

Instruction:
Here is an article:
A lifeboat enthusiast has set about recording the country's RNLI volunteers using Victorian photographic methods. By Francesca WilliamsBBC News Quietly spoken, Jack Lowe is a man on the verge of his dreams. A life-long love of photography and lifeboats has finally put him on the road around Britain's coast. Having given up the Newcastle printmaking business he ran for 15 years, he plans to record all 237 of the Royal National Lifeboat Institution's stations on glass plates with a 110-year-old camera. "It was like stepping towards the edge of a cliff and hoping that your flying suit would work," he says. "I wanted to make things again, things that are actually photo-graphy, drawing with light," he says. "Making light interact with chemicals and having a physical object people can refer to in 100 years' time. "The second thing is engagement, participation. It becomes a collaboration because their time is no more or less valuable than my time and we make it together. "Not only that, but they see within seconds the image appear. So they get an instant bit of reward for their efforts." Jack, 39, is quietly delighted by the effect the result has on its subjects. "Sometimes they're moved to tears," he says. "Tag, the Aldeburgh coxswain, we were just there together. His eyes welled up when he saw it appear out of the chemicals. "You pour fixer on the image and it switches from negative to positive before your eyes - magical." Joanna Quinn, from the RNLI, says the crews photographed so far have found it an "involving and exciting experience". "It's hard to articulate why the pictures are so effective but I think it's something to do with the fact that they look quite timeless," she says. "Lifeboat crews, though they change through the years - there are more women now, for example, than there ever have been - what they do has always been consistent. "They are always willing to go out and save lives at sea and I think that continuity and that history is something that's reflected in his pictures." This is the RNLI that "captivated" the eight-year-old Jack. Living on a boat at Teddington and Ramsgate harbour probably helped. As did visiting his dad on the Isle of Wight and seeing where Atlantic 21 lifeboats, which he thought were "so cool", were made. Jack spends at least a day at the lifeboat stations and the Victorian process he uses is not swift, like the instant click of a digital shutter. An image is produced on a glass plate - coated with chemicals and still wet - when it is exposed to light through the camera. A fixative stops the process and sets the picture - known as an ambrotype. Having converted his bedroom into a dark room at the age of 12, it is perhaps not surprising that Jack has done the same to an old ambulance, called Neena. The process has to be started and finished in about 15 minutes, unlike rolls of film which can be developed later, so he needs facilities to hand. The less light there is - specifically UV - the longer the camera's shutter has to remain open. If the subject moves, the image will blur. "These are four, five, six, seven-second exposures," Jack says. "It makes for beautiful work because they have a peace about them. "You have captured a few seconds in the glass. They've been thinking things and their hearts have been beating." With exposures of up to 12 seconds, willing participation is essential. An overcast location and the need to walk repeatedly between camera and dark room along a 150m (300ft) pier meant it took far longer than usual to photograph Cromer coxswain John Davies. "John isn't known for his patience with photographers," Jack says. "But there was a moment after about two and a half hours where he could tell that I was as dejected as he was. "I just sat down and put my head in my hands and I said, 'I'm really sorry about this John'. "He said to me - out of the blue, I didn't expect this at all - he said 'don't worry Jack, we'll crack this'. "This is an eighth generation Cromer coxswain. He's been at sea since four in the morning. He's the only one in the station. He's just there for the photograph." Jack's intention is for the RNLI to own the completed collection of glass ambrotypes, which the organisation says "would be a remarkable thing" for it to have. It is committed to sharing them with as many people as possible, through an exhibition, book or gallery, it says. Jack gives the first print from each ambrotype to the station or crew member and pays for the project - and "puts food on the table" - by selling further prints to anyone who wants them. With a loose rule of thumb to go north when it is warm and south when cold, he expects to visit Scotland next. And then, one day, after the four or five years his project will take, he will become a lifeboatman, he says. "I will be. I know I will be," he says.

Here is an summary requirement:
Summarize Jack Lowe's background and his passion for photography and lifeboats.

Please summarize the above article based on the given requirement:

Jack Lowe is a lifeboat enthusiast and photographer who has embarked on a journey to document all 237 Royal National Lifeboat Institution's stations using a 110-year-old camera and Victorian photographic methods. With a lifelong love for photography and lifeboats, Lowe gave up his Newcastle printmaking business to pursue this passion project. He aims to create timeless images that capture the essence of lifeboat crews and their dedication to saving lives at sea.

Jack Lowe is a lifeboat enthusiast and photographer who has set out to record the country's RNLI volunteers using Victorian photographic methods. He has given up his Newcastle printmaking business and is travelling around Britain's coast to photograph all 237 of the Royal National Lifeboat Institution's stations with a 110-year-old camera. Jack has had a lifelong love of photography and lifeboats, and his passion for the RNLI began when he was 8 years old. He has converted an old ambulance into a darkroom and is committed to giving the first print from each ambrotype to the station or crew member. He plans to complete the project in four or five years and hopes to become a lifeboatman one day.