Born in a wealthy family, Marc Riboud is destined to a prestigious career like those of his brothers, Jean who would preside the Schlumberger bank and Antoine, the Danone company. Yet, in 1936, Marc’s father gets him a Leica camera and tells him, ‘If you can’t talk, maybe could you look.’ He then takes his first pictures at the Universal Exposition of 1937 before deciding, in the late 1940s, to become a professional photographer. In 1953, the French photographer is published in Life, thanks to an iconic and merry portrait, that of Zazou, a painter gracefully painting the Eiffel Tower, on balance, above Paris. Invited by Robert Capa and Henri Cartier-Bresson who tells him he has ‘ a compass in the eye’, Marc Riboud enters the Magnum agency. In 1955, advised by Robert Capa to go to London ‘to see girls and learn English’, he then travels to India and China before returning to North Vietnam where he tends to depict the dignity and tranquil force of the people with intimate images. Yet it is far from the conflicted country that he will produce his most symbolic image of the war when, in Washington, in 1967, a young girl, Jan Rose Kasmir, approaches soldiers, facing their bayonets with a flower. Little could a flower do against guns but much did this gesture (and its depiction) do as an anti-war icon.