In the ’60s, photographers anxious about the art form’s legitimacy set out to distinguish fine art from documentary practices. Photographer Duane Michals has shattered these preconceptions about photography throughout his career. Profiled in Storyteller, a book by Linda Benedict-Jones, released by Carnegie Museum of Art to coincide with last year’s retrospective of the same name, offers a survey on the unorthodox methods which separates Michals from his contemporaries. In the book, Michals speculates on why his work was so unique in the art world: “I never went to a photography school, which was my saving grace. I didn’t know that you weren’t supposed to write on a photograph, and I didn’t have to unlearn all the rules that school teach you.”