Arthur Lepla, a New Generation Behind the Lens
At only 16 years old, Arthur Lepla is already one of the familiar faces on the major pyrotechnic stages.
For several years, he has accompanied his father, photographer Frédéric Lepla, to numerous shows across Europe.
Annecy, Brussels, Marseille, Malta, and even the Masters de Feu… behind the lens, Arthur learns to observe the show with a photographer’s eye, balancing patience, precision, and passion.
In the world of pyrotechnic photography, where the moment never repeats itself, this father-son transmission gives birth to a fresh perspective on the shows.
A Passion Born at a Young Age
Arthur Lepla discovered fireworks photography very early.
He has accompanied his father to shows since the age of seven.
His first photos date back to 2016, during a show at the Château de Chantilly. At the time, the young photographer fondly recalls the reward promised after his first successful images:
“As payment, I got a Lego set.”
But beyond this anecdote, it was above all the pride of seeing the images appear on the camera screen that convinced him to continue.
Even before taking his first photos, Arthur had already attended several pyrotechnic shows. The world of fireworks already fascinated him.
Learning Photography Alongside His Father
The learning process happened gradually, show after show.
At first, everything was prepared for him: camera set up, tripod adjusted, framing defined.
His role simply consisted of triggering the shot at the right moment, guided by his father’s voice.
Little by little, Arthur learned to master the settings, set up the equipment, and understand the logic of long exposure, essential in pyrotechnic photography.
Today, he often has his own vantage point at shows, sometimes several hundred meters from his father’s.
“At first I was just a few meters from him. Now I have my own dedicated photo spot, sometimes at the other end of the city from the show.”
Learning also involves experimentation… and sometimes a little disobedience.
“At first I followed his instructions exactly. Then I started triggering a bit earlier or a bit later. That’s how I learned to manage my exposure times.”
Finding the Right Composition
For Arthur, photographing a fireworks display is not just about capturing explosions in the sky.
The composition of the image remains essential.
“I first try to have a landscape that remains beautiful even without pyrotechnics. The composition of the location is important, and the explosions enhance the image.”
This approach aligns with that of many show photographers: the fireworks become an element of a larger picture.
Even though the emotion is always connected to the explosion in the sky.
Anticipating the Show
Unlike the spectator, the photographer must anticipate.
To prepare his images, Arthur often watches the virtual simulation of the show to understand the dramaturgy and key moments.
This allows him to choose the right exposure times and avoid images that are too cluttered or, conversely, too empty.
“To be professional, I watch the show several times in simulation to plan my exposure times.”
Memorable Moments on the Major Stages
Among the shows that left the greatest impression on him, Arthur cites the Fête du lac d’Annecy 2025, one of the largest pyrotechnic shows in Europe.
With nearly an hour and a half of show on the lake, each tableau brings a new visual atmosphere.
“It was almost 1.5 hours of show without getting bored, each tableau brought something new. And I had a superb spot on a pontoon right in front of the show.”
Annecy, Malta, Brussels, Marseille, and even the Masters de Feu are now among his memorable experiences.
The Privilege of Being at the Heart of the Show
Photographing a fireworks display often means being in privileged positions.
A rare proximity to the show, but also a responsibility.
“That’s when you realize how fortunate you are to be so close to the show and the trust placed in us to capture the photos.”
The Photographer’s Patience
Among the essential qualities his father passed on to him, Arthur cites without hesitation patience.
Some vantage points sometimes require hours of waiting.
“In Malta, for example, we had to wait a long time to keep our spot. At first I found it a bit boring, but I understood it was necessary to have certain unique vantage points.”
At major events, the best locations are often contested.
A Spectator’s Perspective Above All
Despite his role as a photographer, Arthur explains that he always watches a show as a spectator.
“I think it’s important to take photos that speak to people. I try to imagine what the spectator would like to see in the image.”
The main difficulty often remains the choice of vantage point.
“For now I still delegate this choice, but I try to scout the surroundings to find new spots.”
The Image That Remains
After the show comes the time to develop the images.
It is often at this moment that the photographer’s critical eye appears.
“Right after the show I see what I could have improved. But a few months later, the photos mainly remind me of the preparation, the journey, and the moment of the show.”
Photography then becomes the memory of the event.
A Photographer’s Dream
Like many pyrotechnic photographers, Arthur still dreams of certain legendary shows.
Among them:
the New Year’s Eve fireworks in Sydney, with the Harbour Bridge and the Opera House as a backdrop.
“The explosions above the bridge with the Opera House offer an incredible composition.”
Between Photography and Architecture
Currently in his final year of high school, Arthur is also preparing his future.
He is considering pursuing studies in architecture, a field that ultimately connects with his passion for imagery and composition.
But photography will always hold an important place.
“It’s a passion that allows me to discover the world and experience unique moments.”
Profile
Arthur Lepla
Pyrotechnic show photographer
For several years, he has accompanied his father, photographer Frédéric Lepla, to numerous international shows. Passionate about photography and urban landscapes, he is gradually developing his own perspective on pyrotechnic shows.
Also read:
Frédéric Lepla, capturer l’instant et prolonger la magie du feu
