I’d choose continuous lighting over flash if I were starting my portrait photography career today – here's why

After writing about the release of Mark Mann’s new signature LED kit with Harlowe, I found myself revisiting a question I hadn’t asked in years: if I were just starting out in portrait photography today, what kind of lighting would I buy?

For most of my career, I’ve worked with strobes. I learned on flash kits, studied the techniques of photographers like Dan Winters and Annie Leibovitz, and built a mental map around shaping light in those terms. That language of modifiers, ratios and sync speeds became second nature.

Flash has long been the foundation of portraiture, offering precision, power and that unmistakable studio look. And for some of the greats, flash remains an integral tool, shaping everything from fashion to editorial portraiture. But times change.

The technology behind continuous lighting has advanced at an astonishing rate. What was once reserved for film sets and typically noisy, hot and cumbersome has evolved into powerful, compact, quiet, color-accurate LED systems that rival strobes in quality and control. And the biggest shift? When used in conjunction with mirrorless cameras, what you see is what you get.

Continuous lights have a practical side in today's world of content; being able to use the same lights for both photo and video work makes creative life far easier. One setup, one mood, one set of decisions that can carry across formats. I often shoot both stills and motion on the same job, and constant light gives me the flexibility to move seamlessly between the two.

But more than that, continuous lighting changes the dynamic in the room. It enables the subject to get comfortable and remain that way. There’s no jarring pop, no momentary break in connection, no reset between shots that comes with flash. The atmosphere remains uninterrupted. And for me, that’s where the most honest portraits can be found: in the quiet moments and unscripted expressions.

Of course, flash still has its strengths – and I still often use strobes such as the Godox AD600 Pro II for shoots on location. It’s powerful, portable, and still the go-to for many outdoor or high-speed scenarios. But for controlled environments, especially studio portraits, continuous light has become not just a viable option but an inspiring one.

Even legacy brands like Elinchrom and Profoto, once synonymous with strobes, are now offering continuous and hybrid lighting tools. Elinchrom’s LED 100C bridges the gap, while Profoto has introduced new cinema lights designed specifically with motion and modern workflows in mind.

In addition, video-first brands like Aputure and Nanlite are now producing modifiers and fixtures tailored for portrait photographers who want softness, precision, and control.

For those stepping into photography today, there’s never been a better time to choose constant light. It’s powerful, flexible, and increasingly accessible – and if I were starting over, continuous lights would be my choice.

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Make your mind up for yourself by checking out our guides to the best LED lights and the best strobe lights.