Yana Skakun
Yana Skakun

There is a particular photograph I am asked to make in almost every newborn session I shoot: a father's hand, enormous against the impossibly small foot of his new baby. It sounds like a small thing to ask for, and in some ways it is — it takes seconds to make. But the image it produces is one of the most emotionally powerful in family photography, and it is a photograph that deserves to be made deliberately, with proper light and proper attention, not grabbed in passing on a phone while everyone is distracted with something else.
Newborn photography has, for a long time, centred almost entirely on mothers, and there are good reasons for that — the physical experience of pregnancy and birth is hers, and those images matter enormously. But the arrival of a child changes fathers too, in ways that are just as profound and just as rarely documented. A father becomes a father the moment his child is born, not gradually over the following months, and yet how often is that specific, immediate identity shift actually photographed with any intention? In most family photo collections, dad is the person holding the camera, which means he is systematically absent from the very moments he is trying to capture.
Commissioning images that specifically include fathers is a quiet but meaningful act. It signals, to the family and eventually to the child, that fatherhood is visible, valued, and worth the same care and attention that motherhood has always received in family photography. I have had more than one father tell me, slightly sheepishly, that he did not expect to feel emotional about a photo session — and then found himself close to tears looking at an image of himself holding his sleeping baby for the first time in a properly lit, properly composed photograph rather than a blurry snap taken by someone else in a hospital corridor.
There is also a longer-term dimension to this that is easy to overlook in the exhaustion of the newborn weeks. Children who grow up seeing photographs of themselves held and loved by their fathers carry those images in a genuinely personal way as they get older. A framed print on a landing, a page in an album pulled out on a birthday — these become part of how a child understands their own early life and their relationship with their dad. It is worth booking a session partly with that future in mind: these are, in twenty years, gifts to the child as much as they are photographs for the parents now.
Over many newborn sessions, a handful of dad-and-baby setups have proven themselves again and again, not because they are formulaic but because they consistently produce the most honest, most moving images. The chest hold is probably the most requested: baby curled against dad's chest, either skin-to-skin or through a soft shirt, with dad's arms wrapped protectively around. The scale difference between a large adult torso and a tiny curled newborn, combined with the sense of complete containment and safety, makes for a genuinely powerful image without any need for direction beyond simply asking dad to hold his baby close.
A hands-only shot removes faces from the frame entirely and focuses purely on the contrast between adult and newborn hands — both of dad's hands cupping the baby, nothing else in the composition. It sounds like a minor detail shot, but the scale contrast does a huge amount of emotional work on its own, and it tends to be one of the images that translates beautifully into black and white, stripped of colour distraction and left with pure form and tenderness.
A father looking down at his baby, rather than at the camera, is another setup I return to often, because it captures a genuine, unguarded expression instead of the slightly forced quality that comes from asking someone to smile directly at a lens. The same logic applies to a sleeping baby laid gently along the length of dad's forearm — classic, intimate, and reliant entirely on the natural geometry of a father's arm rather than any complicated posing. Where logistics and the setting allow, I also love photographing dad and baby lying side by side, both apparently "sleeping," which works especially well in relaxed lifestyle sessions at home. And then there is the detail shot that started this whole piece: big hands, tiny feet. It is consistently one of the most requested images among the parents I work with, and for good reason — it says everything about scale, protection, and the newness of a life just beginning, in a single simple frame.
A note on including the whole family
Every newborn session I photograph is built to include every family member properly, not just as an afterthought squeezed in at the end. If you are planning a session and want to make sure dad-focused images are part of the plan, it is worth mentioning it when we first talk so I can build the timeline around it.
Get in touch about a newborn sessionDad-and-baby images work best when they are planned as a proper segment of a session rather than squeezed in as an afterthought once everyone else's photographs are already done and patience is wearing thin. I generally like to photograph dad and baby fairly early, while both are still fresh and before a newborn's inevitable feeding or unsettled window arrives, and before dad has spent forty minutes standing to one side watching everyone else be photographed. Doing it early also means dad is genuinely present and engaged for the rest of the session, rather than treating his own portion as an obligation to get through at the end.
Location within the home or session setting matters more than people expect too. Soft, indirect window light works beautifully for these images — a chair or the corner of a bed near a window, rather than the middle of a room under overhead lighting, gives a gentleness to the image that matches the tenderness of the subject matter. I also like to leave a little unscripted time within the dad-and-baby segment, a minute or two where I am not directing anything at all and simply photographing what happens naturally once a father settles into holding his child without being told what to do next. Some of the most affecting images from a whole session come from exactly that unscripted minute.
Almost every father I photograph tells me, at some point before or during the session, some version of "I'm not really photogenic" or "I don't know what to do with my face." This is completely normal, and it is genuinely not something you need to solve on your own before the session. The single most useful piece of advice I can give is to look at the baby, not at the camera. The best expressions in dad-and-baby photography happen when a parent has genuinely forgotten a camera is even in the room, and simply focusing attention on the tiny person in your arms does that job for you far more effectively than any instruction to relax could.
Clothing helps too, more than people expect. A simple, plain-coloured top — nothing with a large logo or a busy pattern — keeps the attention on the two faces in the frame rather than pulling the eye toward a graphic on a t-shirt. Beyond that, there is very little you actually need to prepare. You do not need to know what to do with your hands, how to angle your body, or what a flattering pose looks like — that is my job during the session, and I will guide you through positions naturally as we go, adjusting gently rather than issuing rigid instructions.
It is also worth remembering who these images are ultimately for. Yes, they are for you and your partner now, in these exhausting, overwhelming, wonderful early weeks when very little else feels photograph-worthy because everyone is running on broken sleep. But they are equally, perhaps even more, for your child later — a way for them to see, in adulthood, exactly how loved and how held they were from the very start of their life. The awkwardness of standing in front of a camera passes within minutes of the session starting, usually as soon as the baby does something that makes everyone laugh and the self-consciousness simply falls away. The images themselves last for decades, long after the specific tiredness and chaos of those first weeks has faded from memory.
A number of fathers have told me afterwards that they almost did not bother making time for their own portion of the session, assuming it was really about the baby and the mother, and were genuinely surprised by how much the resulting images meant to them once printed and framed. That reaction is common enough that I mention it deliberately to every father before a session begins, partly to lower the pressure and partly because I want dads to know their part of the story is not an optional extra. If you are expecting or have a new baby and want dad properly represented in your newborn photographs, get in touch and we can talk through how to build the session around your family.

Yana Skakun
Photographer · England
Professional wedding, family and portrait photographer based in England. Passionate about capturing authentic emotions and timeless moments.
About Yana →Yana Skakun is a professional photographer based in Cambridge, covering weddings, families, and portraits across England. Every session is personal — planned around your story, your people, and the moments that matter most. This guide — Dad and Baby Photos: Celebrating Fatherhood — is part of the photography journal: practical, experience-based advice drawn from real sessions across England. Whether you arrived searching for dad baby photographs or father newborn photos, the same care and attention shapes every session Yana photographs.
Professional Photography sessions are available year-round, with bookings open across Cambridge, Ely, Huntingdon, Peterborough, and further afield — East England, London, the Midlands, and beyond. If you have specific questions about dad baby photoshoot uk, mention it in your enquiry. Get in touch through the contact form above to check availability and discuss your session. Enquiries are welcomed from anywhere in the UK.
For outdoor portraits, shoot in aperture priority mode. Use a wide aperture (f/1.8–f/2.8) to blur the background and isolate your subject. Keep ISO as low as possible in good light. In bright conditions, use a neutral density filter or switch to manual to avoid overexposure at wide apertures.
Golden hour is the period roughly 30–60 minutes after sunrise and before sunset. The sun is low in the sky, producing warm, soft, directional light that flatters skin tones and creates beautiful long shadows. It's widely considered the best natural light for portrait and outdoor photography.
In low light, increase your ISO (accepting some grain), use the widest aperture your lens allows, and slow your shutter speed to the slowest you can hand-hold without camera shake (roughly 1/focal length as a guide). Use image stabilisation if available, and consider a tripod for static subjects.
The rule of thirds divides the frame into a 3×3 grid. Placing your subject on one of the four intersection points — rather than dead centre — creates a more dynamic, visually interesting composition. It's a guideline, not a rule: some of the most powerful images break it deliberately.
Professional editing starts with shooting in RAW format. In Lightroom or similar software, correct exposure, white balance, and contrast first. Recover shadow and highlight detail. Apply gentle colour grading for mood. Be conservative with skin retouching — the goal is natural enhancement, not transformation. Consistency across a set of images is what separates professional from amateur editing.
Continue Reading
Get in Touch
Get in touch to discuss your vision — I'll reply within 24 hours.