Le Disparu de Salonique (2005), Aliette Armel’s second novel, is illustrated by 25 black and white photographs taken by the author’s grand-father while traveling through the Balkans with the French army between 1915 and 1917. This article will begin by considering the generic status of the text as a war novel and as “photo-literature”. I will then consider the representation of space in Le Disparu de Salonique from two different perspectives. First, I will examine “the photography of space”, considering the relationship between the verbal and visual representation of space. Then, I will consider “the space of photography”, looking at the choice of photos to include and their distribution throughout the text, as well as the creation of an iconographic space that completes the verbal space created by the text. The reproduced photos serve a variety of functions–mimetic, ethnographic and narrative–which help the reader to concretize the fictional universe.