Yes, good review. I haven't read the book in full yet, nor sat at the "modelling station" trying to reproduce any of the techniques as they are described yet, but a few observations:
Agree very much that the photos are excellent in terms of the way they are reproduced at a decent usable size; inevitably this book will draw comparisons with FAQ2, and it was certainly my view that many of the photos in FAQ2 were reproduced at too small a size. I did also like very much the method of re-capping the individual build at the end of each chapter so that there is a true step by step that summarises what has been written about in more depth previously. Again, this was something that was a weakness in FAQ2 where the step by step photos were a) too small and b) the cross-referencing seemed to have gone wrong so that individual steps in the text weren't properly tied up to specific photos. Interestingly, I think that is an editorial issue, as are the typos in the Rinaldi book, and both are almost certainly the result of not being published via an established professional publishing house (compare say, the Osprey Modelling Masterclass books where there are no errors in the presentation that I have noticed).
I'd have to say that this book and those by Mig Jimenez are indeed both well written, being engagingly readable. I suppose some may have the reservation that several of the techniques in this book are now pretty well-known, though of course there are new opinions and variations described here, and the descriptions and step by steps may well make things clearer than they have been before. Of course, there's nothing like trying them out yourself and practising to make things really clear!
I do like the fact that the chapters take you through a complete model, while some straight method books tend to jump around from technique to technique leaving one slightly confused as to which techniques are good to combine and in what order. I suppose that this might result in modellers almost cloning what he has done, but then again, from the point of view of learning and practising, that's no bad thing. It's nice that he points out that variations and conditions vary, and therefore don't always expect to be able reproduce anything exactly in any case - it's part of what makes it an art.
With several more books planned, it will be interesting to see if Michael is able to sustain the level of quality, and indeed has enough techniques to keep the audience of each previous book engaged by the next; has he managed to keep some of his pigment powder dry, as it were? (sorry...)