Two of usin the room.

Two to three hours for maybe forty minutes of photography. The rest is feeding, settling, and waiting for a yawn we would never provoke — and it is the part we love most.

One of us trained specifically for newborns — that room is her craft, down to how a five-day-old body is allowed to be held. The other has ten years behind a camera across weddings, events and aerial work, and films as readily as he photographs. In the studio we both shoot: two cameras on the same second, and one of us always with a hand on your baby, which is why neither of us ever has to put a camera down.

In the newborn studio every frame below is a pair — the same second, seen two ways: sometimes two photographs, sometimes a photograph and a film. This week does not come back; the photograph and the film are what stay when it has gone.

We photograph families from every community in Berlin, and we take each family's day seriously enough to learn it properly. We know what a seemantham is and which moment of a naming ceremony you will want back in twenty years; where a tradition is new to us, we ask beforehand rather than guess on the day. We also know that a first birthday in a Berlin flat has a grandmother on a video call who needs to be in the frame. You should never have to explain your own celebration to the person photographing it.

On location — weddings, naming days, birthdays — we work differently: Ashok leads, with a crew sized to the day, so photographs and film happen at the same moment under one brief. That work lives here.