Changeable Lizard by Nazmul Shanji
While trekking through the Rema Kalenga Wildlife Sanctuary in search of leopards, the photographer encountered a remarkable changeable lizard. Intrigued by the creature's natural camouflage, the photographer attempted a close-up portrait, which provoked the lizard into an aggressive display. This sudden shift in behavior triggered a vibrant transformation in the lizard's skin color, a fascinating defense mechanism that defines the species. The resulting image captures this rare, fleeting moment of biological intensity, showcasing the photographer's patience and ability to adapt quickly to unpredictable wildlife encounters in the dense forest environment.
Exposure 1/200sec @ f/5.6 | ISO 400 | Focal Length 300mm
Pedro Pio
Pedro Pio is a director, photographer and screenwriter. He degreed at the International Film School of Cuba (EICTV) with the specialty of Documentary Direction. His first short film "Maya" (2010) was nominated for the Palme d'Or of the Cannes Film Festival. His second short film "Dogs" (2012) premiered at Documenta Madrid, was an official selection of Interfilm Berlin and won the In the Palace (Bulgaria) festival for best film. His third short film "La Niña de La Buseta" (2016) received the awards for Best Film, Best Director and Best Actress in Bogotá Short Film Festival (Colombia) and won the Martil Film Festival (Morocco) as Best Film. His fourth short film “Jauria” (2019) is part of the official selection of the most important short film festival in the world, Clermont-Ferrand. With
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Before the eye identifies the lizard, a sudden tension tightens the chest. It’s that visceral, reptilian alertness—the creature’s throat pulsing with a neon, warning orange that feels almost electric. I’ve found myself holding my breath, mirroring its defensive posture. When I return to this, the shock of that color still pricks at my nerves. It’s not just a portrait; it’s a confrontation that lingers, a flicker of wild, unyielding defiance that follows me into sleep.
The lizard’s diagonal spine bisects the frame, creating a rigid axis that anchors the chaotic foliage. It’s a sharp, geometric intervention. The saturated throat pouch provides the necessary tonal weight to counter the encroaching blur of the background. I’ve rarely seen such aggressive geometry in wildlife work. The composition holds, though the depth of field is dangerously thin. It doesn’t collapse under the pressure of the subject’s movement. It’s a cold, precise victory of structure.
1/200sec at f/5.6, 300mm, ISO 400. It’s a precarious balance. At 300mm, 1/200sec is asking for motion blur, yet the lizard’s display remains sharp. The f/5.6 aperture creates just enough separation from the chaotic Rema Kalenga foliage. I’ve spent hours in similar brush; getting this focus lock while the subject is mid-transformation is damn impressive. It’s a technically sound capture of a volatile moment. The numbers hold up. The photographer didn’t waste the opportunity.
At 300mm, the focal plane is razor-thin, yet Shanji’s hit is precise. The diffraction limit at f/5.6 preserves the lizard’s granular scales, revealing a biological intensity the naked eye would surely miss. I’m genuinely moved by how the chromatic aberration remains controlled against the dense Sylhet foliage. It’s a rare, fleeting intersection of optics and evolution. When the lizard’s skin shifts, the lens doesn’t just record the color; it captures the very physics of its defense.