Yana Skakun
Yana Skakun

There is a particular kind of question I get asked more than almost any other by expectant parents: should I book a maternity session, a newborn session, or both? My answer is nearly always the same — if you can manage it, book both, and book them together. A maternity session and a newborn session are not two unrelated bookings that happen to fall a few months apart. They are two halves of a single story, and when they are planned together with the same photographer, that story reads as one continuous, cohesive body of work rather than two disconnected sets of pictures. This article is about why that pairing matters, what each session actually involves, how the timing works around a due date that nobody can predict with certainty, and what to expect practically from booking both in advance.
A maternity session captures anticipation. It is made in the weeks before the baby arrives, when the pregnancy is visibly advanced but you are still comfortable enough to move, to stand, to hold a pose for a few minutes at a time. The images from a maternity session tend to have a stillness and a softness to them — hands resting on a bump, a partner's hand joining yours, the particular quiet of a household waiting for something enormous to happen. A newborn session captures the opposite end of that arc: the arrival itself, the first days of a baby who is impossibly small and will never again be quite this size or this new. Where the maternity images are about waiting, the newborn images are about having arrived.
Photographed separately, by different photographers, at different times, with different styles, these two chapters can end up feeling like they belong to different stories altogether. One might be shot with warm, golden outdoor light and the other under studio lighting with a completely different colour palette and editing approach. Photographed as a pair, with the same photographer working from the same aesthetic sensibility across both sessions, they sit together naturally — in an album, on a wall, in a digital gallery you scroll through years later. The consistency is not a small detail. It is the difference between a matched set and two things that happen to be in the same box.
Maternity sessions are best scheduled between roughly twenty-eight and thirty-four weeks of pregnancy. Earlier than that, the bump often has not developed enough definition to photograph as dramatically as most parents want. Later than thirty-four weeks, many women find standing and posing for an extended session physically uncomfortable, and there is always the practical risk of the baby arriving early and the session never happening at all. That six-week window tends to be the sweet spot: the bump is full and photogenic, and most women still have the energy and comfort to enjoy an hour or so of photography.
A typical maternity session includes solo portraits of the bump and the mother, portraits with a partner where hands, embraces, and quiet closeness are the focus, and if there are older siblings, images of them interacting with the bump — a small hand resting on it, a sibling talking to it, the particular tenderness that comes before a family has actually met its newest member. Sessions can take place outdoors in natural light, at home in familiar surroundings, or in a studio setting, depending on what feels most comfortable and most reflective of your taste. Outdoor sessions in soft, flattering light often produce the most romantic images; home sessions capture the nursery being prepared and the domestic reality of the final weeks; studio sessions offer more control over lighting and a cleaner, more editorial look.
What to wear matters more in a maternity session than almost any other type of portrait session, simply because the bump is the whole point of the photographs. Fitted clothing that follows the shape of the body reads far better in photographs than loose, flowing fabric that obscures it. Simple, solid colours photograph more timelessly than busy patterns. Many women choose to have one or two outfit changes within the session — perhaps something more relaxed for the beginning and something a little more formal for the second half.
Newborn sessions are best scheduled within the first five to fourteen days after birth. This narrow window exists for a specific reason: newborns in the first two weeks of life sleep more deeply and more often than they will at any later point, and they are still curled into the compact, folded positions they held in the womb, which makes the classic posed newborn images — curled on a blanket, tucked into a bucket or basket, held in cupped hands — genuinely achievable without stress to the baby. Past three or four weeks, babies begin to stretch out, become more alert, and are considerably harder to settle into those soft, curled poses. The session does not become impossible after that window, but it becomes a different kind of session, working with a more awake and active baby rather than a sleepy one.
A newborn session usually blends two approaches. The first is posed photography — the baby settled, swaddled, or wrapped in soft fabric, photographed in the gentle curled positions that only work in those very early weeks. The second is lifestyle photography — the baby in a parent's arms, being fed, being held by a sibling, lying in the moses basket in the nursery that was prepared during the maternity months. Alongside both, I always spend time on the small details that get forgotten astonishingly fast: the exact size of tiny fingers and toes, the particular shape of a newborn's face before it changes over the following weeks, the details of a nursery or a favourite blanket that will mean something specific to this family and no other.
Sessions can take place in a studio, where lighting, temperature, and props can be fully controlled, or at home, which has the advantage of putting an exhausted new family at ease in their own space and naturally incorporating the nursery, the family dog, and the general texture of those first days. There is no single right answer — some families want the clean, controlled studio look; others want the documentary feel of their own home in those early days. Either way, sessions are unhurried and paced entirely around the baby's needs. A newborn session that rushes a tired, hungry baby through poses produces neither good photographs nor a good experience, so plenty of time is built in for feeding, settling, and simply waiting.
Planning around an unpredictable date
No one can know exactly when a baby will arrive, so newborn sessions are booked as a flexible hold rather than a fixed date. Once your baby is born, you get in touch with the birth date and we confirm a session within that first two-week window, working around your specific due date range in advance.
Ask about the combined packageBeyond the visual consistency of having one photographer shoot both sessions, there are a handful of genuinely practical reasons to book the pair together rather than treating them as separate decisions made months apart. The first is availability. Photographers who specialise in newborn work generally have limited capacity for the very reason that newborn sessions need to happen within such a tight window after birth — a photographer cannot promise you a slot at short notice if their diary is already full with sessions booked on a first-come basis after other babies have already arrived. Booking the newborn session during pregnancy, as part of a combined package, secures a flexible hold on that capacity well before the birth, rather than leaving you searching for availability in the sleep-deprived, overwhelming first days with a new baby.
The second is comfort and trust. A maternity session, however relaxed, is still the first time many parents work with a photographer, and there is naturally a small adjustment period as everyone gets comfortable in front of (or behind) the camera. If the same photographer returns for the newborn session, that adjustment period has already happened. There is no getting-to-know-you stage during a newborn session, which matters a great deal when you are exhausted, still finding your feet as new parents, and want the whole experience to feel calm rather than like meeting a stranger in your home with a baby only days old.
The third is value. Photographing two sessions for one family, planned together from the outset, is more efficient for a photographer than two entirely separate bookings, and that efficiency is generally passed on in the form of a combined package price that is more favourable than booking each session individually at full rate. The exact structure varies, but the principle holds across most photographers who offer this kind of pairing.
The best time to enquire about a combined maternity and newborn package is around the middle of the second trimester — roughly sixteen to twenty weeks into the pregnancy. This gives enough lead time to secure a maternity session date in the twenty-eight to thirty-four week window without last-minute pressure, and it gets your name into the diary for a newborn hold well ahead of your due date, before other families with similar due dates have already claimed the available capacity around that time.
In practice, the process starts with a conversation about your due date, where you would like each session to take place, and what kind of imagery you are drawn to — outdoor and natural, home-based and documentary, or studio and more controlled. The maternity session gets a fixed date in the diary once you are comfortable with the timing. The newborn session is held as a flexible window rather than a fixed date, and is confirmed to an exact day once your baby has actually arrived and you have had a chance to catch your breath.
A maternity and newborn package is, in the end, a way of treating pregnancy and early parenthood as what it actually is: one continuous, transformative chapter rather than two separate events. The bump portraits taken in a quiet garden in September and the newborn portraits taken in your living room in November are not unrelated photographs — they are the beginning and the middle of the same story, told in the same visual language, by someone who was there for both. If you are expecting and would like to talk through how a combined package might work around your due date, get in touch and we can find a plan that fits your timeline.

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 — Maternity vs Newborn: Should You Book Both? — is part of the photography journal: practical, experience-based advice drawn from real sessions across England. Whether you arrived searching for maternity and newborn package or book maternity and 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 maternity vs newborn session, 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.
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