Greg Woodhouse
Photography & Visual Storytelling
The Showtime Marching Band's drum major, Frederick Douglass Memorial Hall
When I look at this role, what stands out most is the chance to be trusted with an institution's story as a whole, not just the highlight reel, but the leadership, the traditions, and the everyday moments that turn out to matter later. My experience is a direct reflection of what Howard is looking for: I have high-level experience in all the areas that are needed, and that's the kind of trust I want to keep earning on every shoot.
I've already had the chance to build some of that trust at Howard directly, photographing the women's basketball team, homecoming weekend, the cheerleading squad, and the Showtime Marching Band since moving back to the DMV about a year and a half ago. Everything else in this portfolio draws from the same commitment, developed across 14 years of professional photography. I was lead photographer on a national campaign shoot for Wilson, and I've photographed seven SLAM Magazine covers, including this year's Washington Mystics cover, along with a New York Times feature. That experience also extends to executive portraiture, prep-school athletics, and documentary work centered on the histories communities carry but rarely see preserved. I'd love the chance to bring all of it to Howard, full-time.
A small sample across athletics, tradition, and community. It's the same range this role calls for.
Seven SLAM Magazine covers, the most recent a Washington Mystics cover released this year that I produced from concept through final frame, not only photographed. Before that: Kawhi Leonard and Paul George together in Los Angeles, Luka Dončić solo and again alongside Zion Williamson and Jayson Tatum, Damian Lillard, and Dearica Hamby.
One of the seven put me alongside Stanford's Cameron Brink and Haley Jones as that program built toward a national stage, the same instinct behind the women's basketball and marching band work already on this page.
Beyond the court: a New York Times feature on a 25-year Manhattan pickup-basketball community, and Dwyane Wade's official portrait for his Basketball Hall of Fame induction.
I was also lead photographer on a national campaign shoot for Wilson, one of the largest sports equipment brands in the country. A shoot with Michael B. Jordan for MGM's Creed III sits in this same body of work, captured further down this page.
Live coverage under real deadline pressure: St. John's University's championship-clinching celebration, captured mid-chaos as players climbed into the stands with fans.
Celebration-parade candids, split-second action, and published community reporting, made with the same attention to gesture, timing, and context.
Same team, same season as the SLAM cover: the Washington Mystics celebrating a win in front of a full, loud arena. Editorial photography isn't just the posed cover, it's being ready for the moment nobody can direct.
More than a decade of headshots and on-site coverage for pharmaceutical and consumer brands, including Pfizer, AstraZeneca, and Nestlé, where the subject is a leadership team, not a talent roster, and the standard is boardroom-ready, not editorial-cool.
This is the direct precedent for photographing Howard's Board of Trustees, deans, and administration: same discipline, different building.
Fall athletics media day for a private prep academy (soccer, football, full program, every roster spot), a volleyball team portrait shot against a wall of the school's own championship banners, and a magazine cover for Greenwich Country Day School in Connecticut, photographed on the steps of the U.S. Supreme Court.
At the Prince George's Sportsplex, I serve as the official photographer for the youth gymnastics team, an ongoing relationship built around giving young athletes the same visual care, confidence, and program identity as collegiate and professional teams.
That work sits alongside Ivy League and collegiate sports programs including St. John's, the same range Howard would need across its own athletics, academics, and ceremonies.
Images shown: in Prince George's County, quiet focus before competition and motion resolved into a single frame; a full-extension dive from a separate swim club program in New Jersey; and a portrait from an Indigenous powwow ceremony.
My broader documentary practice also includes a separate series on the Nile Swim Club of Yeadon, the nation's first Black-owned private swim club, and six years documenting civil rights demonstrations as they unfolded. Each body of work is distinct, with its own people, place, and history.
No Cap! Collection is my fine art photography, a 7-part portrait series exploring "the many hats Black folks wear," across identity, purpose, and presence. The idea started with me, and I carried it from first sketch to gallery wall as art director and co-photographer, alongside Timothy Smith and a wonderful crew.
Currently showing at Shanklin Hall in Washington, D.C. (October 23 to August 3), as part of the larger 1866 collaboration.
It's the same lens I'd want to bring to Howard's campus. An institution built around a mission like Howard's, and the people who carry that mission forward, deserve someone who photographs them with that same fine art sensibility.
Earlier proof of the same instinct: creative direction on a permanent photography installation for the Milwaukee Bucks' Pfizer Forum, imagery chosen to live in a physical space and represent an organization to everyone who walks through it. It's the same job as Howard's environmental photography program.
Directing Kawhi Leonard and Paul George through the setup for their SLAM Magazine cover, and a candid moment backstage, players laughing together over a phone between takes.
Whether the subject is a two-time Finals MVP or a room full of players unwinding between shots, the job is the same: get everyone comfortable, control the light, and know exactly what you're building before the shutter clicks.
Beyond organized Lightroom catalogs, I've built image-organization systems for companies and individuals who needed their visual libraries to outlast any one project or shoot. That's the same infrastructure Howard's communications office needs: a way to catalog decades of campus history so it stays searchable, not just stored.
No Cap! Collection came together through a nine-person crew: a stylist, milliner, makeup artist, two models, a producer, and framing and print partners, all coordinated around the original concept.
The community work requires a different kind of leadership: knowing when to direct, when to step back, and how to make space for genuine connection. The image here captures Michael B. Jordan with young people at a community event tied to Creed III.
Outside photography, I've also taught and coached basketball at the prep-school level, and taught Black history and creative writing at the private high school level as well, which feels like good preparation for working alongside Howard's student photographers and interns. And as a former scholarship athlete at Colgate University, athletic environments and team culture feel like familiar ground to me, not just something I photograph from the outside.
Creative direction for high-profile campaigns from concept through post-production and final delivery, with a 90% client retention rate.
Owned full production pipelines for recordings and performances, managing engineers, producers, budgets, and technical delivery.
Managed event timelines, resources, and compliance while coordinating directly with clients on-site.
Portrait, fashion, product, and event photography for an international client base, editing and delivering pre- and post-production.
The person behind all of it, still happiest with a camera in hand and a room to figure out.
Resume and full digital portfolio available on request. This page was built specifically for this role.
