The Weekly Edit
Peter Bohler: GQ

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Design Director: Fred Woodward
Creative Director: Jim Moore
Director of Photography: Dora Somosi
Senior Photo Editor: Krista Prestek
Photo Editor: Justin O’Neil
Art Director: Chelsea Cardinal

Photographer: Peter Bohler

I saw on your site there is a section called  “Veteran Fight Club,” was this personal work that got published or an assignment?
The Veteran’s Fight Club story was shot for Maxim last fall. It is about a Mixed Martial Arts class for veterans in San Diego. A lot of the veterans are recovering from injuries and PTSD, and the group provides a crucial structure for the members to connect with each other, feel safe, and release some of the anger and aggression that they are feeling. A lot of them have been through the VA’s treatment for PTSD, which consists primarily of drugs, and they were all adamant that that system doesn’t work, and this club does. Visually, the two stories are very similar, and the veterans story helped me a lot in approaching the Billy Corgan story. I did shoot only one wrestling event, so it was good to have an idea of what to expect going in.
How often do you shoot for GQ? and what sort of direction did you get for this shoot?
This was my first assignment for GQ, and Jolanta Bielat, the editor I worked with, was great. She gave a lot of freedom, and her main direction was to capture Billy Corgan in his element. It’s such a rich story, and I was a huge Smashing Pumpkins fan when I was 15, so I was really fired up about the shoot.
Did you spend multiple days shooting? or was that captured from one event?
The whole shoot took place at one event in a barn outside of Chicago. Everyone involved was super welcoming–it’s a small, home-grown kind of thing, which I think is what attracts Billy Corgan to it and the fans are insanely passionate.
Do you know what the clutch moves are for that sport, or are you shooting on the fly?
I know virtually nothing about Pro Wrestling, but I like to think I learn quickly. The moves the wrestlers were doing were pretty amazing, though. I gained a huge amount of respect for it.
Approximately how many images did you shoot ( I would image quite alot since it’s  theatrical and over the top ) and was it a hard edit since something is happening all the time?
I don’t remember exactly how many images I shot (and I’m on the road right now), but it was certainly well over a thousand. A shoot like this becomes almost athletic, and I slip into a rhythm that mimics that of the wrestlers as they move around the ring, so I shot a lot. My edit was large, too–maybe around 150 pictures–because there were so many people and situations to photograph. I generally submit large edits, because I trust my editors and they also have a better understanding of how the story develops. I’m always grateful for a fresh set of eyes.

Heidi Volpe

There Are 2 Comments On This Article.

  1. Always love to see Pete’s work and this is no exception. Great raw energy here. And hilarious how much the bloody guy looks like Dolph Lundgren. I guess guys that look that are just genetically wired to kick ass-?