Yes, ladies and gents, I’ve been back in Singapore for a week, and even started a new job. So much happened in my three weeks in the U.S. – a non-stop barrage to visit as many new locales as possible. On one of those legs — Los Angeles — I rode the public bus for 40 minutes to get to this place you see above: The Annenberg Space for Photography.

I was first acquainted with this exhibit space almost two years ago, while I was still a student at Columbia’s journalism school and getting my first high on photojournalism. The Space was branded as exclusive in its presentation and lofty in its vision. This was a place dedicated for the kings of photography, and not just a community museum looking to add another section to its many departments.

But when I got there (and got lost finding it), what struck me was its diminutive size. It really isn’t a museum because even the smallest I’ve seen is a giant compared to the Space. At about the size of two basketball courts put together, there was only room for one exhibit — a multimedia treatment of National Geographic’s recent special issue on water. Photos in that issue were enlarged and hung on walls. Okay, nothing special. The glory came in the Space’s cinematic-style amphitheater, which sat about 20, that projected those images in such vividness that I swore it was more detailed than high-definition.

Apart from a few shelves of classic books on photography, that was pretty much it. I spent a little more than an hour watching photographers’ video clips, flipping books, and admiring wall prints.

There were certain signs that the Space wanted to be more than a little alley with a few hanging prints. A couple of those Microsoft Surface computers allowed visitors to browse the digital files. It was my first experience with this next-generation device, though now that I think of it, it’s really like a giant iPad. I wasn’t allowed to take photos within premises (how ironic), but I did snap off a secret shot in the restroom. When you find an LCD screen on the restroom mirror, you know you’re not in Kanses anymore:

While not completely blown away, I’m proud to say I’ve visited the Space. In time, it could grow to become a household name in the U.S. It’s an impressive showcase, and a must-visit for the serious photographer/photojournalist.

This post comes a bit late, but David Ziser‘s ‘webinar’ on July 1st was a strong shot of espresso for us wedding photographers. He offered answers for five questions, all of which he took considerable effort to answer thoroughly.

One of those questions is what you see above: “How Do I Use my Flash Indoors at a Wedding?” Ziser’s answer was to use two off-camera lights — one held by an assistant at camera-right, and another room light somewhere to camera-left. I have to say room lights are still a mysterious entity for me, so it was nice to hear him describe it to some extent.

And since I don’t have an assistant, my off-camera flashes have always been limited to the length of my arms. Ziser really poured out countless tips and advice for all to listen, and best of all, it was free. He may charge for future webinars but that’s all part of the secret of a successful business. Not only does he have my admiration as a wedding photographer, he also stands as a role-model of a wildly successful businessman and marketer.

On April 1 there’ll be a keynote presentation by documentary photographer Susan Meiselas, who is Pratt Institute’s Scholar in Residence this semester. For those in New York, it’s a good opportunity to hear an experienced photographer’s thoughts and history.

I’ll be there too, so if you’re dropping by, it could be a good time meet your acquaintance!

Pratt Institute Memorial Hall
200 Willoughby Ave, Brooklyn
April 1, 5 p.m. EST

Last Wednesday Parsons: The New School for Design hosted Photo District News‘ seminar for young working photographers. Attending were about 100 photographers of various fields. Some were fine art, others were commercial. Then there were a few photojournalists like me.

Moderated by editor Holly Hughes, the seminar involved a few of the latest ‘PDN 30′ photographers who shared their history in shooting, plus some rare tips of making money out of it. However those were hard to come by, as PDN’s photographers kept on yapping about their personal history. (For those who don’t know, PDN 30 is an annual recognition of the year’s 30 photographers to watch).

Clinton Cargill, picture editor of the New York Times magazine, and Brian Smith, Sony Artisan of Imagery (means he’s sponsored by them) were the most helpful as they provided more professional advice and applications. The PDN photographers felt flimsy and immature in their pursuit of photographic excellence.

The best part came after the seminar, where everyone could mingle while downing free wine and food. I spoke to a couple of strangers, and both turned out to be freelance photojournalists who had no formal training in it. Although in a sense they were competition, it’s heartening to see like-minded snappers struggling to survive in the same mine field of journalism.

Overall it’s been an experience, and one that photographers should take advantage of as they’re free, unlike many other workshops. If I hear of upcoming ones, I’ll be sure to post them here.