Yeah.

They might be in, in most cases tethered to a laptop or a, an iPad.

Um, there might be a client or two over their shoulder.

There's the shot list.

Sometimes there's a powerful amount of lighting that's been brought in.

Not to suggest any of that is, is, is the wrong way to do it, but I think if that's all that happens, at which point do you really feel like you're being a photographer and not a button presser? 'Cause I think if there's any definition a photographer can stand by when they pick up a camera, at its, at its spirit, the essence of being a photographer is, is exploring something, and holding up a mirror to what's going on around us to reflect back something that we didn't know before.

And for me, that's at any moment the question that has to be held.

Hmm.

I think they'd find them quite incredible, these seven colourful little houses.

Yeah, I think in distinct contrast to Volume 1, where we had 30 very aspirational houses from 1 through to 30, Volume 2 really reflects more the time we're in where multi-unit housing has become more valuable and more in the conversation.

Also social housing.

where low-cost solutions have become more and more important and the value of how we all live in that sense.

These seven colourful houses sit on a very suburban, a very new street in Rolleston, And it was with a very chilly minus two that I met them for the first time.

My assistant and I, we walked around and met with the architect and some of the homeowners who very, very obligingly, very kindly led us into their houses to photograph them as they were, as they live in them.

And I think that's what interests me the most about photographing these houses is is the thinking behind them and that we get to see something very beautiful, but more than that, we get to engage with the landscape and we get to see ourselves a bit differently.

You've seen all kinds of houses, but architecture worthy of this book can come out of a flat pack.