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David Glick would surely improve his photography if he resisted the urge to crank the Photoshop to 11. At Zenith Gallery, the Washington-based television and Internet producer presents nine large-scale landscapes in brilliant, but overdramatic, color. Of these, the simplest, most elemental images work the best, including two color photographs printed on canvas: Quiet Lake, a reverie of water and reeds with a tiny boat in the distance, and Sand Grass, a symphony of beige, brown, and green vegetation that recalls the work exhibited by Frank DiPerna at the Kathleen Ewing Gallery in 2000. Indeed, the calmness and subtlety of DiPerna’s works are everything that Glick’s Painted Sunset and Flag are not: Both the former, a horse-filled hillside cast in an ethereal light, and the latter, a bright red barn lit by a blinding, late-afternoon ray of sun, come across as overproduced. Several other works by Glick that show promise—including photos of landforms in Utah’s Monument Valley (pictured) and a forest scene decked out with dazzling yellow leaves—are marred by the artist’s insistence on framing his pieces with distracting vérité film borders. Fortunately for Glick, a stack of other photographs on sale at the gallery—images of hay bales, cows in motion, and a distorted ultra-wide-angle view of the sea—suggests a photographer who, with a bit more laissez-faire, could turn in impressive work. Also on display: landscapes in oil by Bradley Stevens. The show is on view from 11 a.m. to 6 p.m. Tuesdays through Fridays, from noon to 7 p.m. Saturdays, and from noon to 5 p.m. Sundays, to Wednesday, March 17, at Zenith Gallery, 413 7th St. NW. (202) 783-2963. (Louis Jacobson)