In October of 1976, photographer Marc Riboud captured two of the most iconic images of the anti-war protest movement-taking place during the 1960's and 70's. One of these shots is of 17-year-old, Jan Rose Kasmir staring down the barrel of a rifle, armed only with a daisy. What makes this such a timeless and evacuative image? Riboud's perfectly timed photo contains elements of contrast, symbolism and perspective, creating a piece that exemplified the "flower power" movement. Since the 70's, it has continued to hold relevance, as it has come to represent the spirit of peaceful protest, the idea that anyone can stand up to the "establishment", "the man", to make change, even disenfranchised young women like Jan.

The power of this image comes from its' striking contrast. The flower cupped in Jan's feminine hands is the first aspect of the image the eye is drawn to. The second is a bayonet just inches away, a very extreme juxtaposition. The eyes then can't help but wonder down the length of the bayonet to the rifle it is attached to, and the authoritative, gloved-hand gripping it. From there, what appears to be an unending line of uniformed men comes into view; all in an identical stance with their rifles, their faces indiscernible. 

This further contrasts the right side of the image, which shows a female with soft features wearing a flowery and youthful dress. What's interesting to note is that the photo is polarizing right where the crease would be if folded in half. What could be possibly be more opposite, and less subtle, then a rifle with its' bayonet fixed, pointed toward a flower? It is as if Riboud is telling us that rifles, being the instruments of war, represent war, and war, is the enemy of all things flowers represent: peace, youth, beauty.

 Or, could his underlying purpose be to highlight how the monochromaticity of the armed men, contradicts Jan's girlish garb. Prisoners wear uniforms, uniqueness is synonymous with freedom, therefore, the uniformed men likely represent the "the man", an all-powerful, and blatantly oppressive entity. Along the same lines, the destruction of the unique by the group-thinkers, the likeminded, potentially parallels the oppression that war itself brings. Interpretation aside, it is undeniable that there is a clear difference between the photo's two sides. 

Much of the contrast can be attributed to the perspective from which this photo was taken. This side-view perspective helps to achieve the illusion of a never-ending line of bayonets is. Additionally, the side view is actually able to show Jan's distance to the bayonet, which is mere inches. The blade is sheathed, however, if the protest escalated, things could easily, and quickly turn deadly. In spite of this, Jan is leaned in, and unwavering, more than proving her passion for the cause. 

Perspective makes Jan the poster-child of hippie protesters. She is a central part of this photo because she takes up most of the foreground, while the perspective is such that the only persons' face you can clearly make-out is hers. Moreover, without context, you would believe she's made her stand, alone, against a wall of men, much like the heroic Spartans at the hot-gates of Thermopylae. Intentional or not, the perspective of Riboud's shot exaggerates Jan's defiance and in doing so, gives it meaning. 

Symbols are a critical story telling tool because much like contrast or perspective, it helps frame ideas that the reader, or in this case, viewer can use to interpret and eventually find meaning in. Arguably, the most important symbol in Riboud's photo is Jan's daisy. Without the flower in Jan's hand, she would appear to be praying or anything else. By removing that one feature, that interpretation of this piece might totally change. The daisy is a vital puzzle piece in that interpretation hinges on its presence, and the photographers choice of perspective placed it in the center of the photo to emphasize its importance.

Flowers, and daisies especially are associated with hippie culture. Even before the hippies, flowers were used as symbols, and as decorations, with different flowers used for different purposes and representing different things. Daises represent innocence and love, as they are the flower used in the childhood game in which you pluck a petal and alternate saying "he loves me" or "he loves me not" until one petal remains and you've got your answer. Additionally, daisies are wild flowers; yet another nod to the counterculture movement, in which being wild and a nonconformist meant ultimate freedom. 

Jan holds up her daisy as a sign of innocence, a symbol of love in the face of hatred. She holds it up for the 18-year-old boys over in Vietnam, who are forced to shed their innocence in light of what must see and do in order to survive. She holds up her daisy as an offering to her opposition; it represents an alternate way, one of peace and love, the type we feel when we are innocent children picking wildflowers and plucking their petals. Her daisy symbolizes that more than just being opposed to something, Jan stands for something and she is willing to stare down the barrel of a .308 armed only with her symbolic message so that others do not have to.

Much of the symbolism of the photo is obvious yet profound. That's the beauty of this image and visual text in general; nearly anyone can grasp some kind of meaning from it instantaneously. Similar to literary text, there are many possible interpretations, it is up to the reader to make meaning, but what makes visuals so unique, is that the good ones transcend culture and other barriers, needing no backstory, and the great ones make you feel something.  Marc Riboud's photograph of Jan Rose Kasmir holding her daisy at 1967 Flower Protest at the Pentagon is one of those.

