The relationship between the cinematographer and director is, or should be, a "marriage". It's definitely a collaboration on a very high order. Over time, the two should literally read one-another's minds and intuitively know what's needed for an upcoming shot or sequence. The DP should always be allowed to bring their own vision to the table, obviously via the director's expressed palette and designs. For example, if I wanted a scene in a bar to reflect "hard elegance," I would leave it to the cinematographer to deliver this look, and I would trust them to understand the visual and tonal idea without a lot of explaining. Actually, I would purposely be a bit "vaguely specific," to allow the DP some room to work their own personal magic, based on the material, characters, narrative. Of course, if a shot wound-up going the wrong direction, I'd immediately ask to have things scaled backward or forward, to suit. And, I always know enough about what I want to monitor the lighting/staging process and determine if time is being wasted on unusable moves/exposures. Collaboration is king, but the director is, of course, the Admiral of the Fleet (with apologies to Sir Ridley). Between these two ideas is a comfortable place for artists and craft-persons to work and "play" together, and do fine deeds.