May 18, 2018

Here’s how I learned to find amazing models in Mexico for my projects and what you should know if you need a model or want to do modeling in Mexico. by Gavin Seim, effects@seimstudios.com

Need a model in Mexico? or want to do modeling in Mexico?

Gavin Seim - Master fashion photographer working with models in mexico

I’m Gavin, a bilingual photographer, filmmaker, and consultant living in Central Mexico. I’ve been a photographer for 20+ years and I’ve lived in Mexico full-time after moving from the USA. There’s a lack of information about working with models in Mexico. I made this so you don’t get scammed as you learn how to navigate being or working with models in Mexico for creative or commercial projects.

The first time I booked a model in Mexico it was intimidating.

You’re not alone here. I learned a lot since then living in Mexico as a professional Photographer. I’ve also discovered a lot of new models in Mexico with my own projects and I’ve updated this for 2023.

Whether you have a large-scale project on a budget, need an ongoing stream of modeling for your clothing line, or need to shoot a music video. Mexico has great creative people and amazing locations.

You can see many of the models I’ve worked with and trained on my Instagram and my gallery. But today I thought I’d share some tips on finding and photographing Models in Mexico.

Cisla, Model in Mexico black and white session

Feel free to contact me about Mexico models or modleing in Mexico. I offer consulataions, photography and filming services. I sometimes do collab sessions as well for models wanting to shoot in Mexico – Reach me via email – effects@seimstudios.com

Most of my 20-year career was commission sessions.  I used my daily work to earn international image merits to get my master’s degree in Photography But working with models is different. The poses and setups are often easier, but finding the right people can be a chore.

Melena, Model Querétaro Mexico session with Gavin Seim
Melena – Model in Queretaro City Mexico, a session with Gavin Seim

1. Shooting models whether for paid projects or for practice is good for your creativity.

Others might feel intimidated by the pressure of hiring a model in Mexico where it can be hard to find companies that are not seedy and that are actually responsive. Doing so with a language barrier is even more intimidating.

If you’re not a Spanish speaker You probably want someone along that speaks some English, because most of the models won’t unless you get a pricey agency from Mexico City and they will usually charge you way above normal Mexico rates, give a small portion to models and pocket the rest.

Models in Mexico project in central Mexico with Gavin Seim
Yara, Model in Pachuca Mexico
Cisla, Fashion model session in Veracruz Mexico
Cisla, Veracruz Beach Session with Gavin Seim

 

I worked with my first models through an Edecan agency.

Edcans book models for projects and most work in events and in stores for weekend promotion etc. Yes, like vegas booth babes. But it’s not only women. It’s a big business here in Latin America because stores want attractive people presenting their products. If you’re a reputable photographer looking for a project, most of them will be glad to be doing modeling rather than just handing out brochures in the hot sun.

Here in Mexico, we paid about $250 US dollars for two models for about 4 hours of shooting and including travel costs of a few hours.

We contacted an agency and worked through the fact that things are different here. In Mexico, people are more laid back and even companies don’t always respond fast. Sometimes they are downright disorganized by the standards we’re used to from the USA and beyond.

Our models showed up on time along with a representative/security guard. We are after all gringos 😉 — In seriousness, though everyone was chill and the representative was there to take the money and keep an eye on things. But it was all a little stiff feeling. These models are more often than not handing out flyers or looking attractive in front of a cell phone store but they did well.

We had them sign model releases (I use the Easy Release app which has multiple languages) and off we went to make this video and photo project I was working on at the time.

“I want to do modeling in Mexico”

Ok. If you are a model and want to shoot in the exotic beauty of Mexico. Plan a trip first to work with people you trust. There are larger agencies in Mexico City you could contact. But don’t expect to get paid any rates that you expect in most countries unless you’re already well known.

Don’t rush to meet up with just anyone you meet online as you might in the USA or Europe. While many of the things you see in the news about Mexico are sensationalized, there are shady deals at times and it’s still a culture and likely a language you are unfamiliar with.

If you want to be a part of the modeling in Mexico, I suggest starting with people you trust. You don’t have to go to a tourist resort for this. Get in a car and take a road trip. Head inland like to the beautiful jungles in San Luis Potosi. A town like Xilitla, or Tamasopo is stunning, welcoming of full of incredible locations. You can drive to these places from the Texas border in about 15 hours.

Once you start getting a portfolio here, you can use that to further your work and do more modeling in Mexico with these examples and connections you make.

Sondra, Gringa model in Mexico. Photo shoot in Hidalgo Mexico
Cassi, Modleing Sesison in Hidalgo State Mexico

Getting models. An agency can be a start for models in Mexico.

But there are frustrations as business culture tends to be less responsive here and the service in these types of places can lack especially if they don’t fully understand you. There are agencies that cater to English speakers and commercial projects, but they tend to charge way over the market rate and take advantage of your ignorance. So do your homework.

Avoid scams by asking for references from your market, looking only for reviews can also be useful, and NEVER pay in full before the project. A small retainer is normal, but no one should be asking for full payment here until you all arrive on-site. It is NOT normal to pay in full in advance in Mexico as people are very wary of scams. For the same reason, you need to be very transparent with the agency/models about what you need and what you are willing to pay. Don’t assume the price they6 quote is set in stone. It’s not!

Couple fashion session gave seim
Couple model in Mexico – Gavin Seim
We did most of this shoot with natural light and a single strobe. I’ll show you hands-on in the coming PhotoKit videos.

2. Finding great models that simply want to collaborate in Mexico.

So you can hire models for a one-off project from these Edecan agencies. But most of my photos were done with aspiring models who may or may not be with an agency but if they trust you they are happy to go and create amazing sessions in trade for photos. In this type of session, it’s often their first time doing real modeling so come prepared to know and demonstrate poses.

For just exploring light this is my favorite way to find models. I usually buy clothes from Shein or a site like that so they have lots to try and let them pick their theme.

Mexico is a very different culture. How do you find these models?

The problem is the girls are pretty used to men being creepy here. So when they get an Instagram message saying… “Hey you’re really pretty I would like to take photos of you” what they actually hear is, how much do you charge to go to a motel with me? Yes, it sucks, but it’s true. Men will be slightly less suspicious, but folks are very cautious with new people here.

Even if you have a great Instagram and social proof with photos (you should), don’t expect models in Mexico to simply come and meet you for a session just because you sent a message. They will assume you’re just a creep. In fact, I NEVER found a model by using Instagram messages.

Modeling in mexico throwing gair
A mixed modeling session in San Jan Del Rio QRO Mexico

I find models by referral of friends who know women that want great photos or by promoting the collab on Facebook links to my page with lots of details to help them know I’m legit, not a creeper.

Even then only about 50% of the models that scheduled a session with me showed up. Some of them literally said they changed their mind because they were afraid despite me having credentials. That was after many messages, having them tell me what kind of clothes they felt comfortable in, etc.

Be very open, honest, and transparent. I’ve had women in their mid 20’s that asked to bring their dad to a swimsuit shoot. Yes, many new models will jump at free (collab) photos if you are a good photographer, but not everyone is ready to be a model. So be understanding of the culture here, but also use how they respond as a filter. They have to respect your time also.

When I’m working with models in Mexico for the first time I always meet them in a public place like a cafe and have them sign a model release. Then we go take photos, usually with my wife or one of their friends. With women, I generally say no to them bringing male friends because the men tend to leer or take their own photos the entire time. But I encourage them to bring a female friend to help them with clothes and help them relax. A friend like this actually becomes a session assistant.

You can set your own boundaries, just ensure you protect yourself and your models and be very honest and considerate of their needs. Avoid going out alone with new models. That’s good practice anywhere.

Do these things and you will gain a reputation and soon have more models than you need wanting photos, referring friends, etc. This is amazing for portraits and lighting experiences.

Ivanna shoot with Gavin Seim
Ivanna – Model QRO Mexico

3. Find amazing locations to work with models in Mexico!

There are beautiful people everywhere, but the exotic nature of those from other cultures makes it easy to get that creative energy. You could rent a studio or building depending on your needs but theirs a lot of outdoor scenes and urban places that are really eye-catching for projects.

The land is beautiful in Mexico also and there’s so much color in the trees. So even if you don’t have a studio, you’re fine. It’s good to know the area you are in and whether it’s calm (most are). You can legally take photos in pretty much any public space and I’ve never had a problem after many sessions on streets and in parks. It’s normal here.

Let models be themselves. Photographing beautiful people is easy; sort of. You still have to stay on top of things. Pay attention to your lights and setups and detail and do not get pressured by the fact that you’re working with experienced models and feel like the shutter needs to be clicking at all times to prove yourself. Like any portrait session, take charge, take a breath and make a plan.

Yara and Evaristo did a great job. We loaded up and headed out to some epic outdoor locations like an old mine, the bus stop, and the forested roadsides of beautiful Mexico. But that was just the start and since then I’ve started building my own list of models for when I have projects so I don’t have to use a middleman and we can collaborate as equals.

But it’s Mexico, Gavin, surely I’ll be robbed. Don’t believe the hype so easily. I’ve roamed Mexico for months. Just like any country, there are bad parts of town, but most areas of Mexico are perfectly safe and wandering around to cool locations is no problem. We were in Querétaro and Hidalgo State which in most areas have less crime than many States in the US.

Model Ivanna in a Mexico session on the River in Hidalgo
Hidalgo Mexico. One of my favorite Riverside modeling locations with Ivanna

There are talented undiscovered models of Mexico. Treat them with respect and everyone will leave happy!

Unless you’re shooting a movie, you probably don’t need fancy models that are promoted in US agencies. If it’s a commercial project you can find models from an Edecan like I did my first time or you can scout out your own. It’s a warm culture full of beautiful people.

Get out there and take some photos and then go edit them with some of my presets 😉

I also do session directing and consulting for projects in Mexico so you are welcome to send me a message if you need some help with your upcoming project.

Gavin Seim

Beach session Cisla with Gavin Seim
Cisla – Model San Juan Del Rio Mexico
Model underwear shoot central mexico
Karen – Model QRO Mexico
Models in Mexico dance session with Gavin Seim
Montse – Dancer and model, Queretaro Mexico
Read More

March 20, 2013

Gavin is on the road again for 3 months filming and photographing. You can follow their trip here. Barry and Dennis found the keys to the garage. Who knows what will happen. Good job guys.

Click To Listen>> Photography Podcast. PPS #91

Direct Podcast FeediTunesPodcast Alley

Today’s Panel…  Barry HowellDennis ZerwasRonn MurrayAndrew JonesSeth Hinrichs

Gavin is on the Road so Barry, DZ and their crew take the show for a spin as they talk about the latest in photography, then and now.

This show brought to you by the Seim Effects. And the new ColorFlow presets for Apple Aperture.

PPS #91 Forum Discussion HERE. Share Your Opinions.

Main Time Indexes:

  • 00:00 Introductions.
  • 02:22 What’s Old is New.
  • 33:10 News and Stuff.
  • 43:10 Barry Does Video
  • 46:06 What’s Our Next Camera?
  • 58:30 The Lightning Rounds
  • 1:35:50 Picks

 

LINKS…

Barry’s video on the Canon FTB.

Follow Gavin’s 3 month American road trip.

Sony NEX Series

Random PICKS:

iCandy phone video mount for SLR’s

SteadyCam Merlin 2 video stabilizer.

Also the smaller Smoothee version for GoPro/Phones.

Olloclip lens system for iPhone

Lumix GH3.

Read More

March 8, 2013

This is an article I was originally asked to write for Professional Photographer Magazine, a good read – The problem was that editing department hacked it up so badly that it was barley even my words anymore. Such is life, but I opted to not have it published. Below is the full version of the article with a few extras since I didn’t have a word limit here. Enjoy – Gavin Seim

____

I’m going to share a few things that can fundamentally change how we make images. NONE of them are new –  Sometimes it seems we arrived at digital and left behind a hundred and fifty years of photographic knowledge. I spend a lot of time studying classic techniques. Why? Because it’s not new – It’s time tested. It works. In this digital age we can get so caught up in gadgets, software and tools that we neglect how to make images beautiful from the start. I’m from the digital generation – So while I fully relate, I’ve learned to stop looking for buttons and start looking for light.

1. The Tones:

Ken Whitmire once taught me that “Tone” may be the least understood and least utilized factor in composing and finishing images.” He was right. With digital it’s easy to think “that’s easy”. But as a lover of film and digital, I’ve learned they’re not so different. A great photograph is light and shadows – We must see in terms of tone and how it relates to what we want to capture. Exposure, burning, dodging, finishing  – Proper use of tone can literally take the viewer anywhere we want them to go. Now that’s power.

Ken Whitmire on the Oregon coast – I photographed this portrait of him while he was photographing a family. The Tone is essential here. Control of the dynamic range while retaining rich blacks gives balance to the scene.

2. The Zones:

The Zone Scale – A representation from black to white in one stop increments. The language of light.

I’ve been trying to decide how to discuss Ansel Adam’s Zone System in few words. Zones may be the most neglected tool in photography today. They offer a core to how we communicate and photograph light. Zones are not just for film or black and white. Once you truly understand them you never see the same again. The Zone System is broad reaching. But it’s core is the beautify simple Zone Scale, a representation from black to white. Combine Zones with a simple understanding of metering and there is no over, or under exposure. There’s only your exposure. Your intent. I can’t explain it all here, but there’s a free video covering the basics that I posted over at exposedworkshop.com. It’s an excerpt from my EXposed series and will get you started. Don’t ignore Zones because they will change your photography. You can also read my article on using Zones here.

Lost Oasis – I was using large format film here and took advantage of camera movements. Line, tone, space and position were all critical and while in retrospect there’s things I could have improved, taking my time paid off. I took in the full tonal range from black (Zone 0) to just shy of clipping (Zone 10). More on this image here.

The Zone System – Here is an exposure sequence metered on the highlights from Zone 1 to Zone 9. More on this in the Zone System discussions on my site.

3. Space, Position, Line:

Ken Whitemire, the pioneer and master of the wall portrait, showed me the value of tones in relation to space, position and line. He has an amazing lecture he gives about this at the Wall Portrait Conference each year – Essentially we need to think about the aesthetics of our image. For this reason I love studying masters like Bierstadt, Sargent and others. We must start by truly seeing our scenes. Think about the subject. How lines lead. Where are they positioned? Why? Is anything distracting? Should it be lighter, darker? Really – Truly – See!

Morgan’s Song – I had a lot of things happening in this riverside portrait. Controlling the aspects of the scene, the position and the tone allowed me to show a beautiful scene while still keeping the viewers eyes on Morgan.

4. Visualize – Again:

Are you really “seeing” in the minds eye? It’s easy to let this slide in an age of instant previews and post production fixes. But nothing replaces visualizing. Ansel reminds us that “The whole key lies very specifically in seeing it in the mind’s eye”. Regardless of our subject, we must stop, if only for a moment. See what’s in front the lens and decide what the subject needs. Then use space, position, line and tone to make that happen.

This was my turning point in visualizing. I used 4×5 film for this wall portrait that we printed at 40 inches. I needed to keep away the distractions in the space. I only used one frame of color film, but I took a breath first. I truly saw the portrait in my mind before I released the shutter. I’ve added a zone scale for the purpose of tone study.

 5. Finishing:

The image is captured. Win lose or draw we’ve done it. I’ve learned that slowing down throughout the entire process makes me a far better craftsman. That includes finishing. It’s easy to raise the bar in post if we stop worrying about making countless “decent” images and start thinking about how to take the “best” and make them sing. Fulfill that visualization, right up until the print is on the wall. That is mastering the photograph.

Until next time… Gavin Seim

This image was a PPA Loan Collection print in 2011. It’s actually a tone-mapped piece, but more importantly, it had careful attention to detail. Focus on line, tone values and finishing made it work. Planning and execution.

Read More

February 1, 2013

Hasselblad – The Second Coming of Film

Click To Listen>> Photography Podcast. PPS #90

Direct Podcast FeediTunesPodcast Alley

Today’s Panel... Gavin SeimBarry HowellBryan CaporicciJoseph Linaschke

Bringing in 2013, the panel talks about whats new and whats coming this year as they share ideas on raising the bar in 2013.

This show brought to you by the Seim Effects. And the new Color Fantasies 2 Presets for Lightroom.



PPS #90 Forum Discussion HERE. Share Your Opinions.

Main Time Indexes:

  • 00:00 Introductions.
  • 03:00 News and latest
  • 13:00 Compact Cameras and Fads
  • 40:10 Adobe CS2 Adventure
  • 43:30 Ideas for 2013
  • 1:06:25 Copyright – Lighting
  • 1:25:50 Composition – Lighting
  • 1:39:20 Picks of the Month
  • 1:58:58 After Show

 

LINKS…

Follow Gavin’s 3 month American road trip.

Brother QL570 label printer.

Ifrogs BOOST

Powershot N

 

Olympus OMD

Sony NEX Series

 

Adobe CS2 Download Archives.

Wall Portrait Workshop 2013

Film is Coming Back.

Gavin’s LIGHT LETTER

PICKS:
Bryon
Herman Miller Aeron Chair

Barry:
Hassleblad 500CM

Joseph:
Eye-Fi SD Card

Read More

January 28, 2013

by Gavin Seim: Fads always come and go – iPhoneography and mobile device photo exhibitions are no different. There is no iPhonography. There is only photography and whether or not you do it well.

I’m going to be frank. But let me explain the real issue I have. You see don’t hate mobile cameras. But the fact that industry leaders are on the road teaching “mobile photography” as a genre, singing the praises of cell phones being serious pro cameras, and suggesting that using said cheap camera is a “feature” is utterly ridiculous. Lets put aside for a moment the massive lack of quality in mobile images that we examined last month and just consider the fad aspect.

The fad is this ridiculous idea of promoting yourself as something special because you use the lowest quality camera you can find. The phone camera is just a camera. A very cheap one. And yes, it’s what we do with a camera that makes the image. So, we “can” make a artistically great image from a phone. The problem is that it’s rather like making the best sculpture ever carved out of crumbling rock. It’s very limited and it’s going to end up looking like dust next to the David.

Imagine if Michelangelo started carving with a butter knife and presented Butter Knife Chipping as the future of the sculpting world because it was so simple and elementary. What I’m saying is this: The tool used is irrelevant as long as it does the job well – If it fails to do the job well it should be replaced with something that works better.

Now I know that the cellphone camera is NOT going away. Right now it’s a useful point and shoot tool. In time it will likely achieve the quality we had in the compact 35mm point and shoots of the film days and it will likely grow as a legitimate tool for certain situations. It’s not even close yet.

At this stage I have not seen one mobile image with the technical quality I would attribute to a fine print. Oh, we might get an 8×10, and even stretch it a tad further. But it’s the most limited photographic medium I can think of. So limited that if you do get that once in lifetime shot, you can barely do anything with it beyond putting it on the web. And lets not get into the iPhone Time cover. The image was very low on technical quality and likely only made it because of this fad.

For the record, I use my iPhone all the time. I find it quite suitable for snapshots. The question I pose is this: Would a cheap disposable  110 camera from the drugstore (remember those?) be a suitable alternative to a pro system? Of course not. And yet it could arguably give better quality than our phones.

My point here is NOT that you cannot make an image with “artistic merit” from a cheap camera. It’s that an artist who’s serious about their work must go beyond the artistic and consider technical merits and capabilities of his tools. Saying “Look, I’m using a low grade camera!” as a feature in your art is utterly ridiculous beyond a fad. If you’re reading this years after I write it you may be thinking – “did that actually happen?” – The sad truth is, yes it did.

If you make a good image on a mobile that’s fine – And if the quality of mobile device images when you’re reading this is truly enough quality for the product you “want” to sell then fine. But what model camera you made it on is  irrelevant unless it offers some game changing improvement, or is being discussed between colleagues.

Someone will want to point to the photographer doing well with mobile images. They may well even be a great photographer. But if they’re to be taken seriously in the long run it won’t be because of the camera they used. Anyone with an art business that relies on the type of brush they use with is doomed to fail in the long haul. In the end what I’m saying is it’s what camera you use as long as you cane make a great image. Whether you did it on a mobile is totally irrelevant unless it causes a technical failure of the resulting image. Mobile photography is NOT a selling point.

We don’t need to learn or teach “mobile photography”. We need to learn, study and teach light. That’s what photography is all about.

I get in trouble for taking this position. But that will pass. This is an industry where just a few years ago quality was demanded and photographers needed at least medium format to be taken seriously in most genres. Now these same artists are out on the road teaching how would be photographers should make their millions with a cell phone? A $10 camera? If that’s not a passing fad, then I guess I’m not a photographer.

Gavin Seim

Read More