[2] Her photographs appeared in numerous publications and fashion advertisements, including ads for Bloomingdale's, Bruno Magli, Nike, Ralph Lauren and Macy's.

This familial community, which cultivated its members' intellectual superiority through frequent trips to Boston's opera and cinemas, also suffered from this exile in the suburbs.

She was a student at Brimmer and May School in the Bay of Boston, and has always cited as her first sources of inspiration the narrow cobble streets, Louisburg Square, snow and tinted windows.

Her images, "scraped, twisted, erased, damaged artificially to give the impression of old clichés, contradict the technical perfection that even an amateur photographer can get these days.

She is widely credited with adding a darker, more brooding element to fashion photography, beginning in the early 1970s[1] – she, Guy Bourdin and Helmut Newton changed it from traditional, well-lit images into something much more "edgy" looking.

[1] However, unlike the "urban erotic underworld" portrayed by her contemporaries, Turbeville's aesthetic tended towards "dreamy and mysterious," a delicate female gaze.

Nancy Hall-Duncan notes[citation needed] that these women seemed "locked in their solitude," an impression reinforced "by lazy, soft poses."