Well if the DOP is "thinking of the shots" then the director isn't really in control of the visuals of the film. A director should understand the vision of the project the best, and so should be directing the visual style of the film.
Ideally, its a collaborative process. A DoP is an expert, and understands the syntax of cinematography more than you (well they should) so their ideas are going to be useful, and some of their ideas could be better than your own) - but ultimately the final decision is with the director (well, the producer technically).
If you don't involve the DoP in the shot selection choice, that doesn't mean they're not being creative. There are limitless ways to frame a shot. Say you have a story about someones marriage falling apart, and you have a "wide shot" planned. 1 DoP frames the actor on the right of the frame, with their body only taking up the bottom half of the frame, so they look squashed and vulnerable. On the left side of the frame is a candle about to go out, as a tacky metaphor for the marriage.
A 2nd DP frames the actor in the from a high angle centre of the frame, in the middle third of the image, again emphasizing their smallness. No candle in this one (he gets a closeup of the precious metaphor later). The centre framing, and lack of props in the scene is disconcerting and makes the audience feel uneasy.
Both choices fit your "wide shot" idea, and work toward the same goal. But they're very different, and a lot of creativity went into that. Even if you've directed the shot exactly to one of those descriptions, exactly how the actor/candle is framed denotes meaning to an audience and is a creative process on itself.
So unless all they do is press record, the DP credit is probably deserved.