Two decades after the fall of Soviet-bloc dictatorships, popular movements for democracy are erupting in the last regional bastion of authoritarianism: the Arab world.

So far, only Tunisia's dictator, Zine el-Abidine Ben Ali, has been toppled, while Egypt's President Hosni Mubarak - who has ruled that ancient land longer than many pharaohs - announced Tuesday that he will step down in September. But other Arab autocrats are bound to go. From Algeria to Syria to Jordan, people are fed up with stagnation and injustice, and are mobilizing for democratic change.

So, what happens when the autocrat is gone? Will the end of despotism give way to chaos - as happened when Mobutu Sese Seko was toppled in 1997 after more than 30 years in power in Zaire? Will the military or some civilian strongman fill the void with a new autocracy - as occurred after the overthrow of Arab monarchs in Egypt and Iraq in the 1950s, and as has been the norm in most of the world until recently? Or can some of the Arab nations produce real democracy - as we saw in most of Eastern Europe and about half the states of sub-Saharan Africa? Regime transitions are uncertain affairs. But since the mid-1970s, more than 60 countries have found their way to democracy. Some have done so in circumstances of rapid upheaval that offer lessons for reformers in Tunisia, Egypt and other Arab countries today.

Unite the democratic opposition.

When a dictatorship is on the ropes, one thing that can rescue it is a divided opposition. That is why autocrats so frequently foster those divisions, secretly funding a proliferation of opposition parties. Even extremely corrupt rulers may generate significant electoral support - not the thumping majorities they claim, but enough to steal an election - when the opposition is splintered.

In the Philippines in 1986, Nicaragua in 1990 and Ukraine in 2004, the opposition united around the candidacies of Corazon Aquino, Violeta Chamorro and Viktor Yushchenko, respectively. Broad fronts such as these - as well as the Concertacion movement that swept Christian Democrat Patricio Aylwin to power in Chile in 1989 after the departure of Gen. Augusto Pinochet - often span deep personal and ideological differences. But the time for democratic forces to debate those matters is later, once the old order is defeated and democratic institutions have been established.

Egypt is fortunate - it has an obvious alternative leader, Mohamed ElBaradei, whom disparate opposition elements seem to be rallying around. Whether the next presidential election is held on schedule in September or moved up, ElBaradei, or anyone like him leading a broad opposition front, will probably win a resounding victory over anyone connected to Mubarak's National Democratic Party.

Make sure the old order really is gone.

The exit of a long-ruling strongman, such as Ben Ali, does not necessarily mean the end of a regime. Fallen dictators often leave behind robust political and security machines. No autocrat in modern times met a more immediate fate than Romania's Nicolae Ceausescu, who was executed by a firing squad of his own soldiers in 1989 just three days after a popular revolution forced him to flee the capital. Yet his successor, Ion Iliescu, was a corrupt former communist who obstructed political reform. Most of the former Soviet states, such as Georgia and Kazakhstan, had similar experiences.

Countries are much more likely to get to democracy quickly if they identify and embrace political leaders who are untainted by the old order and are ready to roll it back.

But also come to an understanding with the old order.

Victorious democrats won't be able to completely excise the pillars of the authoritarian order. Instead, for their country to turn toward democracy, those pillars must be neutralized or co-opted. This old order may descend into violence when, as in Iraq, broad classes of elites are stigmatized and ousted from their positions. In a successful bargain, most old-regime elites retain their freedom, assets and often their jobs but accept the new rules of the democratic game.

Unless the military collapses in defeat, as it did in Greece in 1974 and in Argentina after the Falklands War, it must be persuaded to at least tolerate a new democratic order. In the short run, that means guaranteeing the military significant autonomy, as well as immunity from prosecution for its crimes. Over time, civilian democratic control of the military can be extended incrementally, as was done masterfully in Brazil in the 1980s and in Chile during the 1990s. But if the professional military feels threatened and demeaned from the start, the transition is in trouble.

The same principle applies to surviving elements of the state security apparatus, the bureaucracy and the ruling party. In South Africa, for example, old-regime elements received amnesty for their human rights abuses in exchange for fully disclosing what they had done. In this and other successful transitions, top officials were replaced, but most state bureaucrats kept their jobs.

Rewrite the rules.

A new democratic government needs a new constitution, but it can't be drawn up too hastily. Meanwhile, some key provisions can be altered expeditiously, either by legislation, interim executive fiat or national consensus.

In Spain, the path to democratization was opened by the Law for Political Reform, adopted by the parliament within a year of dictator Francisco Franco's death in 1975. Poland adopted a package of amendments in 1992, only after it had elected a new parliament and a new president, Lech Walesa; a new constitution followed in 1997. South Africa enacted an interim constitution to govern the country while it undertook an ambitious constitution-writing process with wide popular consultation - which is the ideal arrangement.

An urgent priority, though, is to rewrite the rules so that free and fair elections are possible. This must happen before democratic elections can be held in Egypt and Tunisia. In transitions toward democracy, there is a strong case for including as many political players as possible. This requires some form of proportional representation to ensure that emerging small parties can have a stake in the new order, while minimizing the organizational advantage of the former ruling party. In the 2005 elections in Iraq, proportional representation ensured a seat at the table for smaller minority and liberal parties that could never have won a plurality in individual districts.

Isolate the extremes.

That said, not everyone can or should be brought into the new democratic order. Prosecuting particularly venal members of a former ruling family, such as those tied to the Philippines' Ferdinand Marcos, Indonesia's fallen strongman Suharto or now Tunisia's Ben Ali, can be part of a larger reconciliation strategy. But the circle of punishment must be drawn narrowly. It may even help the transition to drive a wedge between a few old-regime cronies and the bulk of the establishment, many of whom may harbor grievances against "the family."

A transitional government should aim for inclusion, and should test the democratic commitment of dubious players rather than inadvertently induce them to become violent opponents. However, groups that refuse to renounce violence as a means of obtaining power, or that reject the legitimacy of democracy, have no place in the new order. That provision was part of the wisdom of the postwar German constitution.

Transitions are full of opportunists, charlatans and erstwhile autocrats who enter the new political field with no commitment to democracy. Every democratic transition that has endured - from Spain and Portugal to Chile, South Africa and now hopefully Indonesia - has tread this path.

Fragile democracies become stable when people who once had no use for democracy embrace it as the only game in town.

Kris Cheng is not your average senior at Stanford University, studying Energy Resources Engineering and traveling to places as diverse as rural Mongolia to research solar technology uses for nomadic communities. He is a self-taught photographer with an eye for the dramatic, capturing subjects in their natural environment but posed to enhance the style, expression, and intensity of the human condition. Kris's portraits explore the intimacy of his subjects, while also depicting the harsh realities of poverty and underdevelopment. This budding photographer captured the attention of the Center on Democracy, Development, and the Rule of Law, when he submitted the winning photograph in a competition sponsored by the Center. 

The CDDRL photo competition was intended to encourage students, faculty, and staff, to submit their original photos, which illustrate themes central to CDDRL's research mission. The selection committee was impressed by the diversity and professionalism of the entries received depicting scenes of democratic expression, abject poverty, and new technology use, among others. From  over 60 entries, Kris Cheng's image of a small boy gazing into a trash-clogged river in an unincorporated slum outside of Manila in the Philippines was selected. His imagery captured both the challenges and opportunities of the work we are engaged in and his technical style left the selection committee wanting to know more about this young photographer.

I sat down with this incredibly humble engineer who is an avid outdoorsman with a penchant for adventure sports and extreme environments, to discuss his winning photograph, the journey that brought him to where he is today, and his plans for photography going forward.  

Q: Kris, tell me a little bit about yourself and when you first embraced photography.

A: I started becoming interested in photography as a hobby at the end of high school when I was a senior.  I went all over taking photos, traveling, and kept taking more photos and was continuously improving. Overtime, it became a passion and something that I am intimately attached with - second nature, in a sense.

Q: Did you ever have any formal training in photography or is it all the learn as you go method?

A: I adopted the learn as you go approach to photography, taking a lot of photographs, searching the Internet to find images I like and exploring why I liked those certain images. Being self-taught, I found the Internet to be an amazing resource to learn from other photographs, replicate others, imitate other styles, and gain new techniques and insights to apply to my own work. Photography is a creative process that doesn't lend well to a rigid school environment, so for me it's been learning by doing. See what you like and don't like, and always keep maximizing or minimizing those characteristics. It's an iterative approach.  

All of my favorite photographers were more or less untrained - Joey Lawrence and Chase Jarvis are among the photographers I follow the most.  

Q: Stylistically, how would you describe your genre of photography? Your photographs are remarkable in the way you incorporate light and reflections, please tell me more about how you achieve this effect.

A: I do a more stylized and dramatic form of photography that I guess you could call elaborate portraiture. Everything I do is more or less planned. I get an idea in my mind for how I want them (the subjects) to look and pose based on what they have been doing. In this sense, it is not artificial, but rather trying to bring out certain qualities I see in the subject.  I use a wide range of lighting equipment, such as remotely triggered external flashes to achieve the effects in my pictures depending on the location. My travel-sized lights are not nearly as powerful as the sun, so I had to wait until a golden period around sunset each day when I could achieve the desired lighting effects.  

Q: Do you have a particular niche?

A: I do a wide range of photography, including fashion, nature, and commercial work. I don't have a particular niche per se, but I do have a very distinct style evident in all of my photos.

Q: How do you gain the trust of subjects in your photographs to capture them in such intimate and realistic ways? What is the process you go through to gain their confidence?

A: I understand the importance of the human connection and photography is secondary to this, a way of documenting interaction. I went to Mongolia last year to research solar technologies and their applications for nomadic households, namely cooking.  I was working with the non-profit ADRA in integrating one of their entrepreneurial programs for impoverished families and went on a 20-day trip across Western  Mongolia with some Mongolians. All interactions were unplanned, and we stayed with families for a few days at a time to do experiments with solar cooking, gain input, and test out conditions in the field. For me, it was very important to establish a relationship of trust with these Mongolian families and interact using humor as a bridge.

For my type of photography, it is essential to engage with people and make them feel comfortable. After I felt that a mutual sense of trust had been reached, I would let them know that I had a camera and make sure they were comfortable with their photo being captured or if they had particular preferences. I always make it a point to send the prints after they are done, though with nomadic families it's not exactly easy.

Q: That provides a great background to your work in Mongolia but I would love to hear more about your trip to the Philippines where you captured the winning image.  

A: Two summers ago in 2009, I traveled to the Philippines to conduct a feasibility study of biogas integration into a village. That particular picture was taken in an unincorporated slum that was in the process of being transformed into a village by a non-profit called GK just outside Manila.  We spent two days there and it was really hard to get to know people as I was busy with my own work and there were significant language barriers - I didn't have the type of time afforded to me in Mongolia. In this village, I came across a little boy who was looking over the trash filled river that ran through his slum, and it was striking how the boy was interacting with these conditions. Places like these are a common occurrence throughout the Philippines and especially the developing world as a whole, and through the perspective of this boy I was hoping to convey the scene from a more intimate and "local" point of view. These kids play in and around the river like it's nothing, because this is their reality and they know nothing different.

Q: What has been your favorite place to photograph from among your international travels?

A: It partly depends on where I am in terms of photography. The Philippines was a really good stepping point for Mongolia in terms of audacity and planning. I learned a lot from my experiences in the Philippines, and was really able to build and expand on that when I went to Mongolia. I expect this trend to hopefully continue.

Q: Is there a future trip planned?

A: Yes, certainly! Not this summer as I need to stay in the area and get a job, but I am expecting my next trip to be up north to Greenland for a different photographic experience that is particularly focused on nature.

Q: Have you ever considered using your photographs to build awareness and bring attention to development challenges?

A: Photography goes hand in hand with the work I have been doing in international development and I hope that my work is eye-opening for a lot of people. I know there is a lot more I could be doing to make that a focus but at this point in my career I am not sure how far I want to take photography in comparison to other development projects that I feel are more tangible.

Q: But are the two necessarily mutually exclusive? Can't development and photography go hand in hand?

A: I have definitely thought of that and in what ways we can combine the two to use photography in a very new way that can provide a more lasting impact. Documentary photography has no doubt proven to be an enormous force for social change on a variety of occasions, but this is certainly not the only way photography can play a role in development. Photography touches on a very important aspect of the human condition, especially when dealing with issues of empowerment and self-worth, and I think there is much more potential to capitalize on that. Kids with Cameras (an NGO) is a great example.

Q: What are your tools of the trade?

A:  I currently have a Canon 5D Mark II and use a 16-35mm f2.8 and 50 mm f1.4 lens, with a whole range of additional accessories and equipment. I started with an entry level Nikon D50 camera several years ago and slowly worked up my way up. Luckily, my side work freelancing allows for me to pay for my personal work and equipment.

 Q: Tell me more about the professional work you do.

A: My professional work includes freelance commercial work like music photography, portraiture, and magazine profiles. I recently contributed to a feature on eco-fashion for the New York Times, which entailed a sustainable fashion photo shoot. Before, I would just take any job I got and went full steam ahead with it for the sake of experience and (some) money, but now I'm able to be more selective with what I take on.

Q: Have you ever exhibited your photos?

A: Not really, I know a lot of other people have but I do not necessarily like to heavily promote my work. That's not really my style, and I have other commitments to balance. I haven't tried but am open to getting more exposure. To be honest, I haven't done a stellar job of properly displaying my work outside of the Internet.

Q: Do you imagine a future career for yourself as a photographer? Where do you see yourself heading with this hobby for which you are clearly talented?

A: Four years ago, I had no idea where this was going to lead or that it would get me to this point, but I guess that goes with a lot of the things I do. Hopefully, this will be something I can balance with my career, although there were a few moments when I was tempted to drop everything and just become a photographer. Lately, I have gotten into documentary filmmaking because it is a natural progression for a lot of photographers and further allows me to make a real impact with my work to highlight different social issues. It suits me well to travel to all these places where no one wants to, or is willing to go. I thrive in extreme environments.

For more information on Kris Cheng's photography, please visit www.krischeng.com.

The nine other finalists in our CDDRL photo contest include (in no particular order); Thomas Alan Hendee (student), Jorge Olarte Blanco (student), Rachel Quint (student), Francis Fukuyama (staff), Jon Strahl (student), Omar Shakir (student), and Marina Latu (staff). Please reference the gallery below for samples of their winning entries.

A reception honoring our winner and finalists will be held on Friday, January 28 from 11:30-1:00 pm in the lobby of Encina Hall.