.
2010, commemorating the centenary of the beginning of the revolution of 1910 and the bicentennial of the beginning of the independence war of 1810, and in some ways it seems that has become the year of Hugo Brehme.
While the photographer end of life obtained Mexican citizenship in 1910 was a newcomer, actually his second stay in the country, from 1905 to 1907 had made contact with our land.
True, Mexico may have a magical attraction to catch foreigners but thought Brehme in 1910 as a German, acted as a German, was German.
In the words of the historian of photography, John Mraz:
"Hugo Brehme is the best photographer of the Mexican Revolution, in addition to his flawless technique, was there to capture the most important moments: the Centennial celebrations Independence, the Zapatistas in Morelos, the arrival of the conventioneers and the Constitutionalists to Mexico City, the invasion of Veracruz, etcetera. "
May 31, 2010. Notimex
Moreover, the exclusive publication "20/10 Report of the revolutions in Mexico," in its September-November 2008, from the pen of Alberto Torres Rodriguez, he dedicated an article: "Hugo Brehme and Ten Tragic. "
March 13 in San Diego California is inaugurated the photographic exhibition Colburn Collection; Photography of Ancient Mexico, by Hugo Brehme, also as part of the festivities.
May 22: Viva Mexico! Photo exhibition curated by Carla Ellard, during the celebrations in Mexico. Armada From the collection Witliff, Texas State University, from May to July 2010. Among the 100 photographs from over 40 photographers are 10 of Hugo Brehme.
On June 21 the Diario de Xalapa, the news was the donation of 400 photographs by Hugo Brehme the General Archive of the State of Veracruz, by former Governor Agustín Acosta Lagunes, and plans an upcoming exhibition on the occasion of the celebrations of the ancient homelands.
In the Third Regional Meeting for the archives, The Revolution and other revolutions "carried out by the end of last May in the former Convento de Tepoztlan, was presented the book: "Hugo Brehme and Revolution" the researcher Mayra Mendoza.
Since last November 24, 2009, began a tour of the exhibition "Hugo Brehme and the Mexican Revolution", now in the city of Monterrey and is expected back in August in Mexico City, with the headquarters Franz Mayer Museum.
This exhibition is interesting to note the comment of Nelly Pineda, representative of the Embassy of the Federal Republic of Germany, and coordinator of cultural events under the Bicentennial:
" In fact one of the photographs that were initially referred to this exhibition the hanging because we do not have the certainty that is Hugo Brehme. We have a 99 percent chance it is him, but we can not guarantee . "
With a 99% chance ... well.
That speaks to an interest in maintaining credibility in the image of Brehme, the work done by the Germans during the Mexican Revolution ...
Along the large group of researchers and historians, who in one way or another have been grouped to argument to the idea, "photographer Hugo Brehme the Mexican Revolution," I think together in completely opposite direction.
In an interesting exchange of letters, modern way Internet claro está, la especialista en Hugo Brehme, Susan Toomey Frost me recalcaba:
"Now I want to discuss the images that I have labeled "Revolution". (In my database, I have a column for keywords so that I can pull them up as a group.) I have relatively few Brehme cards that I am SURE are Brehmes! I think the Brehme Studio either didn't print that many postcards of the Revolution, or that I simply couldn't find them because they are already locked away in other collections.
I only had about 20 -- yes, only TWENTY -- Brehme cards related to the Revolution, and half of them were brand new reprints that were attributed to Brehme. I was very strict about what I accepted as legitimate images related to the Revolution that were published by the Brehme Studio. In other words, those ten cards have numbers and titles and a back stamp.
It seems to me that in recent years, many people want to attribute images of the Revolution to Hugo Brehme, but I am of the opinion that he took relatively few.
Here's my best argument: Do you find images of the Revolution in the books that he himself published? He didn't consider them picturesque! Remember that he came to Mexico trained in a German photography school in the then popular style of Pictorialism and that he advertised himself as an artistic photographer. He wasn't a documentary photographer. The Revolution was best left to documentary photographers."
This is a point of view, which add another, and we'll call "coincidences."
Previously, the July 19, 2009 published: "Photographing Zapata" , then mentioned the existence of a photograph of Emiliano Zapata, signed by Brehme in the collection of the Kunsthaus, Zurich, a copy of it was shown in "Mexico between romantic revolution," an exhibition mounted from 10 July to 28 August 2005 in the Thüringer Marstall Museum Eisenach. Photography is actually authored by Heliodoro Juan Gutierrez Escobar.
photo signed by Brehme. Published in "Song to Reality: Latin American Photography, 1860-1993." Written by Erika Billeter
Heliodoro Juan Gutierrez Escobar. SINAFER 65294, an exact copy of that used by Brehme is 639745.
Brehme For defenders would be strong enough that his signature appears on the negative. But there are other negative not only signed by HJ Gutierrez, but also came to us the testimony of two eyewitnesses to the shoot, irrefutably leaning the balance in favor of HJ Gutiérrez. In this
when we ask the question, is the only photo from the "HJ Gutiérrez" used by Hugo Brehme? Is an isolated case?
popular wisdom says, "One swallow does not make a summer" ... then look for the swallows.
Walking through the pages of Hugo Brehme and the Mexican Revolution "(Catalog of the exhibition of the same name), I came across a series of coincidences ...
On page 103, pictured above, 104, top and bottom, and 105, below, all with the caption: "Effects of the bombing, Mexico City, February 1913, or "Damage caused by the effect of artillery, Mexico DF, February 1913", and are poorly scheduled start, they are all related to the historical event known as "The Tragedy of Tacubaya Tacubaya or catastrophe."
Tacubaya The tragedy occurred on August 19, 1913, same year as the Decena tragic, but at different times, from February to August, six months intermediate ...
As Susan Toomey Frost says, the accurate identification of Brehme image need at least 3 arguments:
1. The numbering in the catalog generated by Brehme
2. A sign, whether on the image, outside or on its back, in the negative, or pencil, sometimes to be printed by Brehme photo could include a comet and the date.
3. The Photo Studio brand, through a rubber stamp, printed mechanically or industrially produced material, brochures, books, magazines, etc.
The other question would be on the original images used, including a note on its back, feet or classification and photography are the result of research by the curator ...
Mayra Mendoza telephone kindly informed us that approximately 75% included images of notes, and numbering generated by Brehme. That the text submitted to the editor, images with an original title appeared without parentheses, and those where they are assigned one, incidentally, unfortunately the editor considered it unnecessary to bother to put the parentheses, so the foot print all Pictured without parentheses ... Yes
Hugo Brehme throughout his photographic career demonstrates a good memory, or a reliable system log, it's possible such a mistake ...
The point does not end there, the tragedy of Tacubaya, was a local incident Federal District, with no national impact, no direct relationship with the major revolutionary events, was part of daily life in the city, a disastrous accident, yes.
was an event which was followed in local newspapers for a short time, the subsequent days, and then forgotten, as most of the accidents where the Mexican Government is a party.
Brehme So why be interested in something, is something completely out of your profile, or picturesque, or revolution, or German community, was not a known fact for most photographers the capital, except a few among them those of the "HJ Gutierrez." A decision
No. 3 of the series "HJ Gutiérrez" , yes it withdraws its tagline could pass for an image of Brehme ...
In other footage from the series we see the tingling of civilians, gendarmes and military rescue operations and debris removal, but this is the desolation, a military alone sits back to us, instead of a stone bench, provides for the destruction and the enigmatic characters who are cast in the staging of Brehme, is the human presence in the landscape, is a well-composed image, with alternating dynamic sightlines in the end zone in an upward zigzag to get lost in the deep woods ... coincidence.
Brehme.
HJ Gutiérrez.
photographic agency "HJ Gutiérrez, had the dominant presence of two photographers, Heliodoro Juan Gutierrez Escobar and Aurelio Escobar Castellanos, a student of another, which undoubtedly exerted a school within the other photographers of the organization, and in the same way that Brehme is considered "artists" ...
the comet is relevant, because none of the aforementioned two photographers, is the author of the "Catastrophe Tacubaya" and someone will raise his hand saying, Hugo Brehme are clear!
Probably the author is another member of the clan Escobar Enrique Escobar Castellanos. Demos
turn to another page, 122, we see two pictures with the caption "Federal Artillery Regiment, Xochimilco, DF, August 1914." Wrong again scheduled, it is the Buenavista railroad station in Mexico City.
Brehme. Mayra Mendoza
kindly confirmed that the original photo note is: "August 1914", "Xochimilco", "Gegen Zapatistas." "Gegen Zapatistas" can be translated as "contrary, rivals of the Zapatistas "
Aurelio Escobar Castellanos.
Coincidentally Aurelio Escobar Castellanos, photographer of the" HJ Gutiérrez "also captures the moment. In his photographs we see a business background with sign "El Recreo de Buenavista," and among the branches of trees stands the skeleton of the dome of the new Chamber of Deputies, and of course, curious tanks. The shadows tell us who are chronologically contemporary.
page 103, the image below his foot says, "The defense of Xochimilco, Mexico DF" the same event, federal defense of the people of Xochimilco in August 1914, is the picture on page 124, 125, 126, 129, and 131. And know, too Aurelio Escobar Castellanos, made photographs of the same event ...
Brehme.
Aurelio Escobar Castellanos. Pictured
Brehme distinguish exactly the same construction as in Escobar.
During the month of August 1914, Aurelio Escobar constantly travel between the city of Mexico and the Zapatista area of \u200b\u200binfluence in the state of Morelos, visiting the headquarters of the Army Liberator of the South, being in contact and photographing the general Emiliano Zapata repeatedly throughout the month, see " Between the cornfields." Coincidentally Brehme, too ... but it remains a mystery how I file Brehme contact Zapata, while for A. Escobar was a routine event.
Aurelio Escobar Brehme and also photographed the triumphal entry into Mexico City Constitutionalist Army on 20 August 1914 and the meeting of the armies of the Convention in December of that year ... But Aurelio Emiliano personally accompany the study of Gutiérrez JH, across the street from New Mexico 30, Dec. 6 1914.
On page 132, "Villistas in Guadalupe, December 1914," we wonder ... yes the entrance of Villa in Mexico City was Dec. 3 and between 10 and 22 all the Villa's troops leave the city and the 17th of that month Pancho Villa comes to the city of Guadalajara, without forgetting that the January 3, 1915 up to Ciudad Juárez, then when Hugo Brehme could photograph the Villistas in Guadalupe, Zacatecas, in December. ..
Brehme.
Aurelio Escobar Castellanos / HJ Gutiérrez. Aurelio
Escobar shortly before the convention of Aguascalientes in October 1914, is to Francisco Villa in Guadeloupe where he made several memorable portraits. And then escorted to the state of Morelos, to convince the commission to the Zapatistas from participating in the convention, then returned to Aguascalientes.
Take another page, 89, top image, "The Republican Guard, Mexico City, ca. 1912 ". During May 1912 there were two events magnum in the foothills of The Citadel, the first on day 2, with the inauguration of the monument to Morelos in the garden of the same name, opposite the Citadel, an event which corresponds to the image The next event was the military parade on May 5, represented by the photograph on page 88 upper and 89 lower. On the tape made by Toscano of the commemoration of the centenary of the siege of Cuautla, while unveiling of the monument of the hero, appears Aurelio Escobar with his camera, but know the material produced by the photographer himself ... how lucky are preserved Hugo Brehme.
Page 90, pictured below, "wood on Avenida Independencia, Mexico DF, February 1913. Here we see a match otherwise, Aurelio Escobar is also present, there is a photo dated Feb. 17 "No. 5 Federal on city streets, the same time portrayed by Brehme, but in the opposite direction, each photographer, face to face in making Escobar is a character, a photographer with an SLR, when print your plate, is it Hugo Brehme?
Brehme.
Aurelio Escobar Castellanos / HJ Gutiérrez.
No, Samuel Tinoco also takes images of the same scene and use SLR camera ... what a pity that neither captures Brehme.
the same page 90, pictured above, is the scene a bit back to front, we can compare with records of two other photographers, Sabino Osuna, and Austin V. ... Yes Brehme Casasola Casasola worked for why the two go to the same place at the same time ...
In fact in the same street are, A. Escobar, Tinoco, Osuna, Casasola, and Brehme, coincidence ...
Page 92, pictured below, is a well known scene of the artillery of General Angeles, used by different producers of postcards over and over. The caption gives the date: February 9, 1913, but Los Angeles was placed artillery until day 11, the day was in Cuernavaca, Morelos, in fact the federal army artillery that day no place anywhere, other web sites except at the gates of the National Palace ...
Page 96, pictured above, "machine guns in the Broad Street (now Luis Moya), DF, February 1913" . Do not ask me, but if, A. Escobar recorded the same circumstance, dated Feb. 18, "No. 6 Gunners in the streets of the city" during the Ten tragic, Escobar works with the system of series photo clustered around 63 shots, then if the socket is numbered " 6 ", 5 others were held earlier in the same place too early, the soldiers are just beginning to wake up and incorporated, especially in the presence of the photographer, again agreement between Escobar and Brehme, including photographs of both distance just in case only a couple of minutes ... Melhado arrives on the scene about two hours later, the same as Toscano.
Brehme.
Aurelio Escobar Castellanos / HJ Gutiérrez.
the group of photographs taken by way of example (statistically speaking is a substantial part of the exhibition), we see a consistent match between Hugo Brehme and HJ Gutiérrez photographers. Settled in a match misclassification of the pictures attributed to Brehme. The spatial overlap may be possible, it is true ...
The rest is left to ponder.
2010, commemorating the centenary of the beginning of the revolution of 1910 and the bicentennial of the beginning of the independence war of 1810, and in some ways it seems that has become the year of Hugo Brehme.
While the photographer end of life obtained Mexican citizenship in 1910 was a newcomer, actually his second stay in the country, from 1905 to 1907 had made contact with our land.
True, Mexico may have a magical attraction to catch foreigners but thought Brehme in 1910 as a German, acted as a German, was German.
In the words of the historian of photography, John Mraz:
"Hugo Brehme is the best photographer of the Mexican Revolution, in addition to his flawless technique, was there to capture the most important moments: the Centennial celebrations Independence, the Zapatistas in Morelos, the arrival of the conventioneers and the Constitutionalists to Mexico City, the invasion of Veracruz, etcetera. "
May 31, 2010. Notimex
Moreover, the exclusive publication "20/10 Report of the revolutions in Mexico," in its September-November 2008, from the pen of Alberto Torres Rodriguez, he dedicated an article: "Hugo Brehme and Ten Tragic. "
March 13 in San Diego California is inaugurated the photographic exhibition Colburn Collection; Photography of Ancient Mexico, by Hugo Brehme, also as part of the festivities.
May 22: Viva Mexico! Photo exhibition curated by Carla Ellard, during the celebrations in Mexico. Armada From the collection Witliff, Texas State University, from May to July 2010. Among the 100 photographs from over 40 photographers are 10 of Hugo Brehme.
On June 21 the Diario de Xalapa, the news was the donation of 400 photographs by Hugo Brehme the General Archive of the State of Veracruz, by former Governor Agustín Acosta Lagunes, and plans an upcoming exhibition on the occasion of the celebrations of the ancient homelands.
In the Third Regional Meeting for the archives, The Revolution and other revolutions "carried out by the end of last May in the former Convento de Tepoztlan, was presented the book: "Hugo Brehme and Revolution" the researcher Mayra Mendoza.
Since last November 24, 2009, began a tour of the exhibition "Hugo Brehme and the Mexican Revolution", now in the city of Monterrey and is expected back in August in Mexico City, with the headquarters Franz Mayer Museum.
This exhibition is interesting to note the comment of Nelly Pineda, representative of the Embassy of the Federal Republic of Germany, and coordinator of cultural events under the Bicentennial:
" In fact one of the photographs that were initially referred to this exhibition the hanging because we do not have the certainty that is Hugo Brehme. We have a 99 percent chance it is him, but we can not guarantee . "
With a 99% chance ... well.
That speaks to an interest in maintaining credibility in the image of Brehme, the work done by the Germans during the Mexican Revolution ...
Along the large group of researchers and historians, who in one way or another have been grouped to argument to the idea, "photographer Hugo Brehme the Mexican Revolution," I think together in completely opposite direction.
In an interesting exchange of letters, modern way Internet claro está, la especialista en Hugo Brehme, Susan Toomey Frost me recalcaba:
"Now I want to discuss the images that I have labeled "Revolution". (In my database, I have a column for keywords so that I can pull them up as a group.) I have relatively few Brehme cards that I am SURE are Brehmes! I think the Brehme Studio either didn't print that many postcards of the Revolution, or that I simply couldn't find them because they are already locked away in other collections.
I only had about 20 -- yes, only TWENTY -- Brehme cards related to the Revolution, and half of them were brand new reprints that were attributed to Brehme. I was very strict about what I accepted as legitimate images related to the Revolution that were published by the Brehme Studio. In other words, those ten cards have numbers and titles and a back stamp.
It seems to me that in recent years, many people want to attribute images of the Revolution to Hugo Brehme, but I am of the opinion that he took relatively few.
Here's my best argument: Do you find images of the Revolution in the books that he himself published? He didn't consider them picturesque! Remember that he came to Mexico trained in a German photography school in the then popular style of Pictorialism and that he advertised himself as an artistic photographer. He wasn't a documentary photographer. The Revolution was best left to documentary photographers."
This is a point of view, which add another, and we'll call "coincidences."
Previously, the July 19, 2009 published: "Photographing Zapata" , then mentioned the existence of a photograph of Emiliano Zapata, signed by Brehme in the collection of the Kunsthaus, Zurich, a copy of it was shown in "Mexico between romantic revolution," an exhibition mounted from 10 July to 28 August 2005 in the Thüringer Marstall Museum Eisenach. Photography is actually authored by Heliodoro Juan Gutierrez Escobar.
photo signed by Brehme. Published in "Song to Reality: Latin American Photography, 1860-1993." Written by Erika Billeter 
Heliodoro Juan Gutierrez Escobar. SINAFER 65294, an exact copy of that used by Brehme is 639745. Brehme For defenders would be strong enough that his signature appears on the negative. But there are other negative not only signed by HJ Gutierrez, but also came to us the testimony of two eyewitnesses to the shoot, irrefutably leaning the balance in favor of HJ Gutiérrez. In this
when we ask the question, is the only photo from the "HJ Gutiérrez" used by Hugo Brehme? Is an isolated case?
popular wisdom says, "One swallow does not make a summer" ... then look for the swallows.
Walking through the pages of Hugo Brehme and the Mexican Revolution "(Catalog of the exhibition of the same name), I came across a series of coincidences ...
On page 103, pictured above, 104, top and bottom, and 105, below, all with the caption: "Effects of the bombing, Mexico City, February 1913, or "Damage caused by the effect of artillery, Mexico DF, February 1913", and are poorly scheduled start, they are all related to the historical event known as "The Tragedy of Tacubaya Tacubaya or catastrophe."
Tacubaya The tragedy occurred on August 19, 1913, same year as the Decena tragic, but at different times, from February to August, six months intermediate ...
As Susan Toomey Frost says, the accurate identification of Brehme image need at least 3 arguments:
1. The numbering in the catalog generated by Brehme
2. A sign, whether on the image, outside or on its back, in the negative, or pencil, sometimes to be printed by Brehme photo could include a comet and the date.
3. The Photo Studio brand, through a rubber stamp, printed mechanically or industrially produced material, brochures, books, magazines, etc.
The other question would be on the original images used, including a note on its back, feet or classification and photography are the result of research by the curator ...
Mayra Mendoza telephone kindly informed us that approximately 75% included images of notes, and numbering generated by Brehme. That the text submitted to the editor, images with an original title appeared without parentheses, and those where they are assigned one, incidentally, unfortunately the editor considered it unnecessary to bother to put the parentheses, so the foot print all Pictured without parentheses ... Yes
Hugo Brehme throughout his photographic career demonstrates a good memory, or a reliable system log, it's possible such a mistake ...
The point does not end there, the tragedy of Tacubaya, was a local incident Federal District, with no national impact, no direct relationship with the major revolutionary events, was part of daily life in the city, a disastrous accident, yes.
was an event which was followed in local newspapers for a short time, the subsequent days, and then forgotten, as most of the accidents where the Mexican Government is a party.
Brehme So why be interested in something, is something completely out of your profile, or picturesque, or revolution, or German community, was not a known fact for most photographers the capital, except a few among them those of the "HJ Gutierrez." A decision
No. 3 of the series "HJ Gutiérrez" , yes it withdraws its tagline could pass for an image of Brehme ...
In other footage from the series we see the tingling of civilians, gendarmes and military rescue operations and debris removal, but this is the desolation, a military alone sits back to us, instead of a stone bench, provides for the destruction and the enigmatic characters who are cast in the staging of Brehme, is the human presence in the landscape, is a well-composed image, with alternating dynamic sightlines in the end zone in an upward zigzag to get lost in the deep woods ... coincidence.
Brehme. 
HJ Gutiérrez. photographic agency "HJ Gutiérrez, had the dominant presence of two photographers, Heliodoro Juan Gutierrez Escobar and Aurelio Escobar Castellanos, a student of another, which undoubtedly exerted a school within the other photographers of the organization, and in the same way that Brehme is considered "artists" ...
the comet is relevant, because none of the aforementioned two photographers, is the author of the "Catastrophe Tacubaya" and someone will raise his hand saying, Hugo Brehme are clear!
Probably the author is another member of the clan Escobar Enrique Escobar Castellanos. Demos
turn to another page, 122, we see two pictures with the caption "Federal Artillery Regiment, Xochimilco, DF, August 1914." Wrong again scheduled, it is the Buenavista railroad station in Mexico City.
Brehme. Mayra Mendoza kindly confirmed that the original photo note is: "August 1914", "Xochimilco", "Gegen Zapatistas." "Gegen Zapatistas" can be translated as "contrary, rivals of the Zapatistas "
Aurelio Escobar Castellanos. Coincidentally Aurelio Escobar Castellanos, photographer of the" HJ Gutiérrez "also captures the moment. In his photographs we see a business background with sign "El Recreo de Buenavista," and among the branches of trees stands the skeleton of the dome of the new Chamber of Deputies, and of course, curious tanks. The shadows tell us who are chronologically contemporary.
page 103, the image below his foot says, "The defense of Xochimilco, Mexico DF" the same event, federal defense of the people of Xochimilco in August 1914, is the picture on page 124, 125, 126, 129, and 131. And know, too Aurelio Escobar Castellanos, made photographs of the same event ...
Brehme. 
Aurelio Escobar Castellanos. Pictured Brehme distinguish exactly the same construction as in Escobar.
During the month of August 1914, Aurelio Escobar constantly travel between the city of Mexico and the Zapatista area of \u200b\u200binfluence in the state of Morelos, visiting the headquarters of the Army Liberator of the South, being in contact and photographing the general Emiliano Zapata repeatedly throughout the month, see " Between the cornfields." Coincidentally Brehme, too ... but it remains a mystery how I file Brehme contact Zapata, while for A. Escobar was a routine event.
Aurelio Escobar Brehme and also photographed the triumphal entry into Mexico City Constitutionalist Army on 20 August 1914 and the meeting of the armies of the Convention in December of that year ... But Aurelio Emiliano personally accompany the study of Gutiérrez JH, across the street from New Mexico 30, Dec. 6 1914.
On page 132, "Villistas in Guadalupe, December 1914," we wonder ... yes the entrance of Villa in Mexico City was Dec. 3 and between 10 and 22 all the Villa's troops leave the city and the 17th of that month Pancho Villa comes to the city of Guadalajara, without forgetting that the January 3, 1915 up to Ciudad Juárez, then when Hugo Brehme could photograph the Villistas in Guadalupe, Zacatecas, in December. ..
Brehme. 
Aurelio Escobar Castellanos / HJ Gutiérrez. Aurelio Escobar shortly before the convention of Aguascalientes in October 1914, is to Francisco Villa in Guadeloupe where he made several memorable portraits. And then escorted to the state of Morelos, to convince the commission to the Zapatistas from participating in the convention, then returned to Aguascalientes.
Take another page, 89, top image, "The Republican Guard, Mexico City, ca. 1912 ". During May 1912 there were two events magnum in the foothills of The Citadel, the first on day 2, with the inauguration of the monument to Morelos in the garden of the same name, opposite the Citadel, an event which corresponds to the image The next event was the military parade on May 5, represented by the photograph on page 88 upper and 89 lower. On the tape made by Toscano of the commemoration of the centenary of the siege of Cuautla, while unveiling of the monument of the hero, appears Aurelio Escobar with his camera, but know the material produced by the photographer himself ... how lucky are preserved Hugo Brehme.
Page 90, pictured below, "wood on Avenida Independencia, Mexico DF, February 1913. Here we see a match otherwise, Aurelio Escobar is also present, there is a photo dated Feb. 17 "No. 5 Federal on city streets, the same time portrayed by Brehme, but in the opposite direction, each photographer, face to face in making Escobar is a character, a photographer with an SLR, when print your plate, is it Hugo Brehme?
Brehme. 
Aurelio Escobar Castellanos / HJ Gutiérrez. No, Samuel Tinoco also takes images of the same scene and use SLR camera ... what a pity that neither captures Brehme.
the same page 90, pictured above, is the scene a bit back to front, we can compare with records of two other photographers, Sabino Osuna, and Austin V. ... Yes Brehme Casasola Casasola worked for why the two go to the same place at the same time ...
In fact in the same street are, A. Escobar, Tinoco, Osuna, Casasola, and Brehme, coincidence ...
Page 92, pictured below, is a well known scene of the artillery of General Angeles, used by different producers of postcards over and over. The caption gives the date: February 9, 1913, but Los Angeles was placed artillery until day 11, the day was in Cuernavaca, Morelos, in fact the federal army artillery that day no place anywhere, other web sites except at the gates of the National Palace ...
Page 96, pictured above, "machine guns in the Broad Street (now Luis Moya), DF, February 1913" . Do not ask me, but if, A. Escobar recorded the same circumstance, dated Feb. 18, "No. 6 Gunners in the streets of the city" during the Ten tragic, Escobar works with the system of series photo clustered around 63 shots, then if the socket is numbered " 6 ", 5 others were held earlier in the same place too early, the soldiers are just beginning to wake up and incorporated, especially in the presence of the photographer, again agreement between Escobar and Brehme, including photographs of both distance just in case only a couple of minutes ... Melhado arrives on the scene about two hours later, the same as Toscano.
Brehme. 
Aurelio Escobar Castellanos / HJ Gutiérrez. the group of photographs taken by way of example (statistically speaking is a substantial part of the exhibition), we see a consistent match between Hugo Brehme and HJ Gutiérrez photographers. Settled in a match misclassification of the pictures attributed to Brehme. The spatial overlap may be possible, it is true ...
The rest is left to ponder.
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