'A key feature od the gaze is that the object of the gaze is not aware of the current viewer (though they may have originally have been aware of being filmed, photographed, painted.
The intentions and perception of the model.
Notes on 'The Gaze' by Daniel Chandler

to gaze implies more than to look at - it signifies a psychological relationship of poer, in which the gazer is superior to the object of the gaze'
Audience Power
Notes on The Gaze By David Chandler

the look is a perceptual mode open to all whist the gaze is a mode of viewing reflecting a generated code of desire
The difference between looking and gazing.
*see reference above*

some 'glamour' photographers to enhance their photographs in the same wayand thus to increase the attractiveness of the model.
Distorting reality and the natural un-edited look.
**

Where the female model typically averts her eyes, expressing modesty, patience and a lack of interest in anything else, the male model looks either off or up. 

In the case where the model is looking up, this always suggests a spirituality ... he might be there for his face or body to be gazed at, but his mind is on higher things'
The difference between how men and women are viewed from the same pose. 
**
male models feel bound to avoid the 'femininity' of being posed as passive object of an active gaze.
Maintaining the stereotypical masculinity.    
**

American teen agers have chosen to be portrayed differently in their high-school yearbook0- the focus of their eyes has shifted from a straightforward, open look to a sideways glance, resembling glamour poses in fashion magazines.
The effect of models on society and influence
**

direct to the camera shot should connote directness of approach and it's attendant qualities of authority and reliability
 What Direct address should 'typically' connote.

the camera frequently enables us to look at people whom we would never otherwise see at all
Opportunities that the camera gives the audience.
**

the photographer (albeit temporarily) has power over those in front of the lens, a power which may also be lent to the viewers of the image.
Manipulation by the photographer, not always down to the model in how they present themselves.

Photography promotes 'the normalising gaze, a surveillance that makes it possible to qualify, to classify and to punish.
The manipulation can affect the model and the audience, and also influence.

'mirror and the camera are tools of self-reflection and surveillance. Each creates a  double of the self, a second figure who can be examined more closely than the original- a double that can be alienated from the self- taken away, as a photograph can be, to another place'
Model doesn't seem real, open to ridicule
**

People have to look in order to be polite, but not look at the wrong people or in the wrong place.
Social rule challenged.

Men look at women. Women watch themselves being looked at.
How women are perceived. The differences between men and women. Objectification by men, accepting that objectification by women.

the idea hat realistic 'highly tactile' depiction of things in oil paintings and later in colour photography (in particular where they were portrayed as 'within touching distance'), represented a desire to possess the things ((or the lifestyle) depicted. This is also applied to women depicted in this way.
 objectification

Women are still 'depicted in a different way to men- because the 'ideal' spectator is always assumed to be male and the image of the woman is designed to flatter him.
Objectification passive. No purpose.

the pleasure involved in looking at other people's bodes as (particular, erotic) objects. In the darkness of a cinema auditorium is notable that one may look without being seen either by those on the screen by other members of the audience.
Mulvey argues that that various features of cinema viewing conditions facilitate for the viewer both the voyeuristic process of objectification of female characters and also the narcissistic process of identification with an 'ideal ego' on screen.   
Why we objectify. Goals, ego boosting.

do not allow women to be desiring sexual subjects in their own right.
Lacking power.

Men do the looking; women are there to be looked at.
Lack of power. Objectification.

the male is never sexually objectified in mainstream cinema.
The difference between the uses of the gender in cinema.

there has been an increasing display and sexualisation of the male body in mainstream cinema and television and in advertising.
Gender uses and views, changing over time.

we may 'identify' with feelings or experiences rather than characters as such.
We may relate to their emotions, not necessarily objectify.

But high fashion models are generally unsmiling and sometimes openly contemptuous. So pronounced is this contrast that it is tempting to formulate it in a simple rule; the higher the fashion, the more sullen the expression. The supercilious expression on the models' faces serve to increase the desirability of what they're selling by evoking status anxiety in the viewer.