In Mimesis as Make-Believe, Kendall Walton gave a pioneering account of the nature of fictionality, which holds that what it is for P to be fictional is for there to exist a prescription to imagine that p . But Walton has recently distanced himself from his original analysis and now holds that prescriptions to imagine are merely necessary conditions on fictionality. Many of the alleged counterexamples that have prompted Walton's retreat are drawn from the field of photography, and it is upon these cases that I focus. I argue that once Walton's analysis is properly articulated, we can accommodate the apparent counterexamples by paying careful attention both to the general features of the photographic medium and the specific features of the photographs in question.

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