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The Troyer Gallery calls its current exhibition of three Washington photographers “New Landscape Photographs,” but the show’s images only fitfully fall under that rubric. Kim Kirkpatrick does capture a landscape of sorts, but it’s largely populated by industrial sheds and barely under-construction housing developments—places where the lushest greens come from semitransparent siding material. Although Kirkpatrick manages to infuse plywood sticks and a muddy pool or two with unexpected dignity, his settings—including Rockville and Shady Grove—come off as depressingly soulless. Chris Foley uses a digital camera to capture more traditional, wooded landscapes in Labrador, Canada, but he finishes his prints using computer software that gives them a gray-scaled, pointillistic texture—a technique that works best in a wide-angle image of a lakeshore. Foley bills his works as being “evocative of old book engravings from the nineteenth century,” but one might equally say that their stylistic inspiration came from Photoshop. The show’s standout is Karen Jordan (Venetian Light is pictured), who came to photography following detours through television news and Capitol Hill. Jordan captures bits of Venice, Italy, sometimes straightforwardly (wooden mannequins, stickers on a wall) and sometimes through rippled distortions, presumably from shooting aqueous reflections. Her strongest works are diptychs, including one that pairs wavy, cubist rectangles with the abstract remnants of posters torn from a wall. Venice has certainly looked more dignified, but Jordan’s vision is bracing nonetheless. The photographs are on view from 11 a.m. to 5 p.m. Tuesday to Saturday, to Saturday, June 16, at Troyer Gallery, 1710 Connecticut Ave. NW. Free. (202) 328-7189. (Louis Jacobson)