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Brehme's work presents a vision of Mexico that is part of the collective imagination about its nature, inhabitants, traditions, monuments and heroes. In accordance with the nationalist and unifying search promoted by the post-revolutionary governments, these images forged a modern photographic language that has remained engraved in the collective memory to this day. It constitutes a unique registry in Latin America both for the quality of the images and for the subject matter addressed, which has become a visual reference for photography in this region. 

Of German origin, Brehme arrived in Mexico in 1905. His photographs were published in national and foreign magazines between 1923 and the 1940s, allowing the dissemination of his photographic language and his particular way of representing Mexican identity, which, based on its nineteenth-century roots, was opening up to the innovations. His work had an impact on emblematic photographers such as Manuel Álvarez Bravo, and on the production of the so-called golden age of Mexican cinema, including the great unfinished project by Sergei Eisenstein, "¡Que viva México!". Brehme's photographs were an example for Latin American photographers, especially in the depiction of landscape and monuments. Today his photographs can be analysed from the point of view of the rescue and conservation of artistic and natural heritage.

In the Fototeca Nacional, 2,323 of his pieces have been preserved, including negatives and positives, in various techniques and formats, including gelatine dry plate negatives and nitrocellulose plate. Most prints are silver gelatine, some toned in sepia, red, and blue-green. His books have been published in Mexico, Germany, France and New York. Among his most famous portraits is the one of Pancho Villa. His photographic work exerted an influence on the filmmakers who addressed Mexican themes.