This book is concerned with how these qualities of nature, money, and image affect popular portrayals and perceptions of nature, and vice versa. If we accept that nature is produced and reproduced through ongoing processes of abstrac-tion and action, then it matters a great deal that nature is pervasively repre-sented in the form of dramatic panoramas. Nature as panorama is familiar to anyone who has ever looked out from a scenic overview. It is, moreover, readily abstracted into spectacular images and simulated in a profusion of themed en-vironments. Panoramic views are also iconic of nature as a priceless and pristine realm, unsullied by human activities in general and capitalist value-making in particular. In colloquial terms, these familiar phenomena are popularly short-handed as the spectacle of nature. Popular associations of nature and spectacle relate to a genealogy of tech-niques, imaginaries, and narratives that largely have been coproduced along with modern nature conservation. Their origins and operations can thus be seen in the well-known and interconnected conservation spaces that we will explore in this book. Their productions happen in specific places and through specific events. But they also circulate widely, mediating imaginaries of the environ-ment, environmental problems, and potential solutions to problems. These cir-culating forms illuminate a common ground of spectacle and nature in which it seems possible to reach out to nature without ever touching and spoiling it. Pristine nature can be made to seem priceless and exchangeable, and money is cast as the medium of our planetary salvation.