Objectification... The Gaze... Voyeurism

• the spectator’s gaze: the gaze of the viewer at an image of a person
• the intra-diegetic gaze: a gaze of one depicted person at another within the world
• the direct [or extra-diegetic] address to the viewer: the gaze of a person depicted looking out of the frame as if at the viewer, with associated gestures and posture
• the look of the camera - the way that the camera itself appears to look at the people depicted; less metaphorically, the gaze of photographer.

...other types of gaze which are less often mentioned:

• the gaze of a bystander - the gaze of another individual in the viewer’s social world catching the latter in the act of viewing - this can be highly charged, e.g. when the image is erotic
• the averted gaze - a depicted person’s noticeable avoidance of the gaze of another, or of the camera lens or artist (and essentially the viewer)
• the editorial gaze - the whole institutional process by which some portion of the photographer's gaze is chosen for use and emphasis.

Research on John Berger

The gaze, this is the ways in which viewers look at images of people and to the gaze of those depicted within it. The term 'the male gaze' has become somewhat of a feminist cliché for referring to the voyeuristic way in which men objectify women.
Men look at women and women watch themselves being looked at. John Berger argues as early as the Renaissance movement women were depicted as being aware of being seen by a male spectator and at least from the seventeenth century, paintings of female nudes reflected the woman’s submission to the owner of both the woman and the painting. He noted that ‘almost all post-Renaissance European sexual imagery is frontal - either literally or metaphorically - because the sexual protagonist is the spectator or owner looking at it. He advanced the idea that the realistic depiction of things in oil paintings and later in colour photography, represented a desire to possess the things, even women if being depicted in this certain way.
Berger insisted that women were 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.
In advertising the gaze is also prominent especially that of the man. A camera lens can be seen as a substitute for the eye of an imaginary male onlooker. Such advertisements appear to imply a male point of view, even though the intended viewer is often a woman. So the women who look at these ads are being invited to identify both with the person being viewed and with an implicit, opposite-sex viewer. 

..................................................................................................................................

Nobuyoshi Araki

 
Within this image by Araki three gazes can be established most obviously there is the domineering gaze of the camera, whose presence is somewhat personified into an ominous male character looming over the vulnerable woman (we assume the gender as the woman seems sexually defeated which could only occur with a male domination). The woman is depicted lying limply over a table as if placed there by the ominous character. The overpowering camera equipment takes a male stance over the woman and with the third leg suggesting the male genitalia it appears obvious where the situation is leading. The woman is defenseless against the metaphorical male figure.
The second gaze comes from the woman herself; which is not returning the deviant gaze of the camera but out toward the photographer or viewer of the image. This immediately suggests that she has no wish in taking part in this action and also that confirms her vulnerable state as she looks to the audience for help. That leads us onto the gaze of the photographer or the view, putting the onus on us whether to either become part of this and taking a voyeuristic stance or to intervene with the sexual dominance.