I am really glad to have seen a fairly extensive exhibition of his works in Stockholm in 2008. I think many, if not most of his work only alludes to being photographs, at least in the way we perceive them today. In a sense, he is the same as Daido Moriyama and many other contemporary photographers, concerned more about the act and the process than the technicalities or the results. Always bending what's on the negative, cropping, blowing up, and framing in strange ways.
I really, really enjoyed Miroslav's work, as old as it may be, it still offers a refreshing view on what photography really is. Taking photography to it's bare minimum somehow, letting it show no more than what it's capable of showing - an interpretation and a synthetic visualisation of reality. Some of his works were "augmented" by lines drawn by ballpoint pens, drawn to accentuate a ventilation grate or the curve of a leg, a few photographs were just what appeared to be different shades of grey, augmented by these same lines drawn by ballpoint pens.
As for his photographs "standing on their own merit", whose artistry stands on it's own merits? A J. Pollock is a J. Pollock because J. Pollock painted it, an A. Kiefer is an A. Kiefer because A. Kiefer painted it... The artist and the story behind the same is inseparable from the art.