Deborah Turbeville’s photographs first appeared in Vogue in 1975, when she was already 42. Her singular, intimate style – her models, it was noted, always seemed “locked in their solitude”, oblivious to the camera – was subsequently a fixture in fashion magazines until her death in 2013. This image from 1985 features the models Anh Duong and Marie-Sophie wearing the clothes of Emanuel Ungaro, but that doesn’t explain the half of it. Turbeville, characteristically, appears to have chanced upon a scene of impossibly dusty decadence. Her two otherworldly figures are set in dreamlike relation to each other. Marie-Sophie sits staring into the past like a nude by Ingres, while Duong faces glassily forward, apparently contemplating visions, her arm hanging over the edge of the shrouded chaise, in limp homage to Jacques Louis-David’s The Death of Marat.

Turbeville, who was American, was drawn to ancien-regime Europe. She had three years earlier been granted permission to create a photographic portrait of the palace of Versailles, and her architectural pictures dwelled on neglected marble in empty courtyards. That mood of lost splendour inflected much of her work; she liked to say that she always “wanted to hear a clock ticking” in her pictures. A new book examining her adventures in photo collage, which includes this image, unpicks her “haunted neoclassicism” and her gift for making evocative narratives of single images. Looked at together her pictures find a language for the longings to which all fashion imagery aspires: stills from seize-the-day life.

In talking about her style, Turbeville sometimes referenced the impact of early and Nouvelle Vague cinema on her ideas for scenes. This picture was a literal homage to that influence. The photograph was taken at the Chateau de Raray, 30 miles north of Paris, which had been the low-lit setting for Jean Cocteau’s 1946 reimagining of Beauty and the Beast.

• Deborah Turbeville: Photocollage by Nathalie Herschdorfer will be published by Thames & Hudson on 12 October (£55). To support The Guardian and Observer, order your copy at guardianbookshop.com. Delivery charges may apply

Throughout the past few years, smartphones have made significant improvements in photography. More specifically, we’ve seen quite a significant upgrade in the long-range capabilities. But when it comes to capturing photos of the moon, the Galaxy S23 Ultra has gained more attention. Well, now, the Huawei Mate 60 series has proved that taking good photos of the moon is no longer a special feature.

Huawei Mate 60 Series Surpasses Expectations with Innovative Moon Capture Tech

Recently, China celebrated the Mid-Autumn Festival. This event took place during a rare celestial event featuring a “supermoon” in the sky. This rare event provided excellent weather and sky conditions for moon-watching. And users of the Huawei Mate 60 series made the most out of the event.

Users in China started sharing photos of the moon they took with their smartphones. But among all, the pictures taken by the Mate 60 series stood out the most. And when the moon photos of the lineup started to stand, it was time to take a closer look into the camera tech that the lineup comes with.

As you can see from the picture I’ve attached above, the Huawei Mate 60 series can adjust the camera exposure well. Huawei’s algorithm makes the moon get proper clarity in the foreground. The background is well-detailed and has minimal noise.

This improvement is likely due to the patent that Huawei secured last year. And if you’re unaware, the patent is about using a specialized method for moon photography. The patented method makes the device capable of identifying the moon with higher efficiency.

It also makes the Mate 60 series phones optimize the focus for a clear outline and capture many frames with different exposures. After that, the algorithm combines all the frames. That gives you a well-defined, outlined moon photo set against a clear, bright background.

Green Lake’s Thrasher Opera House will host an exhibit featuring photographs by Jeremy Stibb through Oct. 31, with an artist reception that is free and open to the public set for Saturday, Oct. 7 from 4 to 6 p.m.

This exhibit may be viewed Monday to Friday from 10 a.m. to 4 p.m. For after-hour visits, call 920-294-4279 to schedule a time.

Stibb grew up in Princeton and discovered his passion for capturing life on film through taking a high school photography class, learning all elements of photography — composition, lighting, staging and even developing his own black and white film. After graduating high school, Stibb traveled to the countryside, shooting pictures of nature, people, landscapes and buildings. Over the last several years, Stibb has focused more on nature scenes, especially sunrises, sunsets and animal life.

He has had some of his photographs published, auctioned and displayed at some local galleries. With encouragement from friends, Stibb decided to develop a business to market his photography. Information on the business may be found at www.jstibbphotography.net/.

Thrasher Opera House’s mission is to promote the arts and the power of live performance, provide a community gathering place and preserve the opera house.

For more information, visit www.thrasheroperahouse.com.