Once on the set, I don’t want people to model for me, for example, using practiced poses. I prefer an image to be built by finding poses and shapes that enhance the image, working with the lighting in the image, and then gently directing from there. Every angle and nuisance in the shot affects the final mood in the shot.
So, in terms of directing, I’ll always give someone a line of sight, which means that their head, noes and eyes must focus on a specific point. From there, I’ll direct the model to look at me or adjust the angle of their head. These subtle adjustments in directing (hands, eyes, and shape of the head on the shoulders), and directing the rest of the crew all forms part of shaping the final image.