James Balog Earth Vision Awards

A glacier draped over snow-covered mountains flows into a valley basin. The vegetation surrounding the basin is red with fall color, and the water of the basin reflects the sky with a brilliant cerulean blue.

James Balog, SteinGletscher 1, Canton of Bern, Switzerland, September 26, 2006

About the Award

Photography is a uniquely powerful medium that bears witness to the relationship between humans and the environment. It shapes our environmental attitudes, perceptions and values and challenges people to create healthier, more sustainable relationships with nature. Photographs reflect the present in ways that will be invaluable or instructive for people of the future.

The James Balog Earth Vision Awards (JBEVA) are juried prizes that are intended to support photographers who are responding to today’s complex environmental issues through innovative photography. The awards will be given every two years.

The Awards are organized and produced by the Denver Art Museum (DAM) in Denver, Colorado, with funds endowed by James Balog and other donors.

What Are the Awards?

First Prize — $40,000: $30,000 at the time of the award and $10,000 twelve to eighteen months later—see ”Terms and Conditions” below

Finalist — $25,000: $19,000 at the time of the award at $6,000 twelve to eighteen months later—see “Terms and Conditions” below

Terms and Conditions

Awards will be presented at celebratory event at the Denver Art Museum six to ten weeks after they are announced. In accepting their awards, the Winner and Finalist must agree to attend that event and give a public presentation about their work. A travel stipend will be provided to defray travel costs. The DAM and JBEVA will need winners’ permission to use their images to promote the awards.

The Winner and Finalist will be asked to submit three prints of their work as gifts to the Denver Art Museum. Those will be selected in collaboration with the Museum’s Curator of Photography and should be delivered no later than eighteen (18) months after the awards are announced. Winners will receive the unpaid balances of their awards after those prints are received and added to the Museum’s photography collection.

Who is Eligible?

The JBEVAward competition is open to photographers worldwide. The awards are intended to recognize and encourage photographers whose applications demonstrate sustained commitment and significant accomplishment. Applicants must be 21 years of age or older on the day that they submit their proposals.

Deadlines and Important Dates

  • September 1, 2026: Call for proposals opens
  • October 1, 2026: Call for proposals closes
  • January, 2027: Award winners announced
  • March, 2027: Award ceremony at Denver Art Museum

Judging Criteria

A three-member jury of expert photo professionals will review all entries. In advance of final decisions, the jury may contact entrants for further clarification about their work.

The Awards are intended to recognize the winning artists’ direct engagement with the world around us. Images may be literal and documentary or symbolic and interpretive. They may be of impacts that are positive and inspiring, or negative and distressing, or both. The jury will not consider fabricated photographs and photographs that involve cloning, excessive color manipulation or AI-generated content.

How to Submit Your Entry

Entries will be collected online. Call for proposals opens September 1 and closes October 1, 2026.

About James Balog

Since the early 1980s, environmental photographer James Balog (BAY-log) has used his cameras to examine the qualities and impacts of human relationships with the natural world. His early photographs advocated for the dignity and preservation of endangered wildlife and old-growth trees. More recently, his dramatic photographs have examined the short- and long-term effects of climate change, from melting glaciers and sea level rise to deforestation, wildfires and extreme weather events. His pictures of landscapes devastated by hurricanes, earthquakes and tsunamis speak to forces beyond our control and invite us to contemplate the oversized effects human activity has on the natural world.

Through his independent work and his collaborations with leading scientists, philosophers and publishers, Balog has created a deep image archive that preserves how the world looks today and offers perspective to support more sustainable relationships with nature in the years ahead. By endowing the James Balog Earth Vision Awards, he hopes that others will carry the spirit and intent of his work forward into the future.

FAQ

  • A portfolio of 10 – 20 photographs that represent your commitment to environmental photography and reflect your accomplishments to date.
  • A short statement that describes your first-hand experience with the locations/subjects of the photographs you are submitting and explains their environmental significance.
  • A short explanation of the work you hope to do with the support of the JBEVA, and the impact you hope that work will have over time.
  • A resume or list of exhibitions, publications, public lectures and/or articles and reviews about your photographic work.

Jurors prefer to see no fewer than 10 and no more than 20 images. Applications with fewer than 10 or more than 20 images will be disqualified.

Unfortunately no, but you are welcome to apply when you are 21 or older.

No, but you are welcome to apply in a later round.

Yes. The JBEVA competition is open to all applicants who meet the age requirement and agree to the Terms and Conditions of the awards.

Unfortunately, we will not accept submissions that are late.

Entries will be collected online. We are currently working on our submission entry system. More details will be provided as we get closer to the September 1 call for entries.

No, you may only apply once in each round. Multiple submissions from the same person will all be disqualified.

The JBEVA Award winner and Finalist may not apply again in future rounds.

Yes, you may apply using the name of your team or collective if you meet the requirements and agree to the terms and conditions of the award.

No. At this time the JBEVA is intended to recognize and celebrate the work of still photographers only.

No.

Selected environmental photographs from the DAM Photography Collection

Kevin O'Connell, Untitled (CE-901), 2009. Inkjet print on aluminum; 36 x 54 inches. Denver Art Museum: Funds from HBB Foundation in memory of Jeremy Hillhouse, 2009.744. © Kevin O’Connell

Evan Anderman, Braided Landscape, Landmannalaugar, Iceland, 2012. Inkjet print; 16 1/4 x 26 inches. Denver Art Museum: Gift of the artist, 2013.194. © Evan Anderman

David Freese, Captains Bay, Unalaska, Aleutian Islands, Alaska, 2011. Inkjet print; 3 3/4 x 5 1/2 inches. Denver Art Museum: Gift of Bill Press and Elana Auerbach, 2014.365. © David Freese

David Maisel, The Lake Project 15, 2002. Inkjet print; 48 x 48 in. Denver Art Museum: Funds from the Mark & Hilarie Moore Family Trust in memory of Timothy A. Fallon, 2015.283. © David Maisel

Barbara Bosworth, Ovenbird, 2004. Inkjet print;18 1/2 x 24 inches. Denver Art Museum: Gift of the artist, 2016.261. © Barbara Bosworth

Jennifer Colten, WE.Field Note #8566, from the series Wasteland Ecology, 2015. Inkjet print. Denver Art Museum: Funds from Frederic H. Douglas by exchange, 2018.49. © Jennifer Colten

William S. Sutton, Sandhills. McKelvie National Forest, Nebraska, 1989. Gelatin silver print; 14 3/8 x 18 1/2 inches. Denver Art Museum: Gift of Charles and Linda Hamlin, 2018.124. © William Sutton

Toshio Shibata, Nikko City, Tochigi Prefecture, 2013. Chromogenic color print. Denver Art Museum: Funds from Frederic H. Douglas by exchange, 2018.140. © Toshio Shibata

Frank Gohlke, Marsh Fire, Bolivar Peninsula, Texas, 1978. Gelatin silver print; 14 3/8 x 17 3/4 inches. Denver Art Museum: Gift of Kerstin and Robert Adams, 2018.475. © Frank Gohlke

John Ganis, Beach Houses after Hurricane Sandy, 959 East Avenue, Mantoloking, New Jersey, from the series America's Endangered Coasts, March 2013. Inkjet print; 22 x 33 inches. Denver Art Museum: Funds from Larry Rothman, 2022.5. © John Ganis

Brian Adams, Teller, Alaska, from the series I Am Inuit, 2015. Chromogenic print; 14 x 14 inches. Denver Art Museum: Funds from the Bartos Balog Foundation and Frederic H. Douglas by exchange, 2023.21. © Brian Adams

Brian Adams, Sylvester Swan Jr. Tom Cod Fishing, Kivalina, Alaska, from the series Disappearing Villages, 2007. Chromogenic print; 14 x 14 inches. Denver Art Museum: Funds from the Bartos Balog Foundation and Frederic H. Douglas by exchange, 2023.28. © Brian Adams

Trent Davis Bailey, Compost, Paonia, Colorado, 2015. Inkjet print; 32 7/8 x 40 7/8 inches. Denver Art Museum: Gift of the artist, 2024.148. © Trent Davis Bailey

Fazal Sheikh, 40° 55' 28.45" N / 112° 43' 32.27" W, from the series Thirst: Great Salt Lake, November 2022. Pigmented inkjet print; 28 7/8 x 43 3/8 inches. Denver Art Museum: Funds from an anonymous donor, 2024.889. © Fazal Sheikh

Tanya Marcuse, Woven Nº 11, 2016. Pigment print; 62 x 124 inches. Denver Art Museum: Funds from an anonymous donor, 2025.38. © Tanya Marcuse

A seemingly abandoned industrial structure stands rusting in the middle of a yellow prarie.
Colorful aerial photo graph of a fertile glacial delta cut between two ridgelines. The lines of the delta frequently branch and rejoin each other evoking the image of a braid.
A sepia-like photograph of a bay with ships in the middle of a frozen hilly landscape.
A high altitude photo of a transitional landscape made up of what appear to be lakes, dry lake beds and sedimentary flood plains.
A woman in a light orange fleece jacket holds her hand together in front of her while facing the camera. A small yellow bird is perched on her hands facing the woman.
Tire treads break up an otherwise clean sandy clearing surrounded by scrub brush.
Black and white photo of a rolling grassy landscape.
Water flows over a brickwork dam. Bright streaks of ruddy brown run vertically to the side of the waterfall, implying that water has run over that part of the dam wall in the past.
Black and white photograph a large cloud of smoke on the horizon above a vast field of wheat-like grass.
A beach house crumbles on a sandy coastal beach, clearly the consequence of water flooding in the aftermath of a storm.
A photograph looking down a hilly coastline on a cloudy day. On one of the coastal hills in the middle distance, a collection of graveyard markers sit at various angles.
A man in winter outerwear sits in the middle of an icy lake on a stool by a pile of recently caught cod. A spear-like fishing tool sits on the ground between the figure and the camera.
A pile of grass and cut flowers stands in a field. A row of still-living orange flowers is in the middle distance behind the compost pile.
A high altitude photo of the Salt Lake basin where a source of water pours into the basin, creating a delta-like pattern of grey water blending into the brackish brown of the lake.
Close overhead view of the ground covered in a combination of dried ground cover vines, dead leaves, cottonwood seeds, and other plant matter.