Gabriella

Marc, this is a very nice portrait that you should be proud of. The catchlights did not distract for me. The main seems a bit low, placing it in the center of the eye. Do you think the main light could be raised up to meet the fill without throwing off your lighting? It might improve the catchlight placement..just an idea, I am not an expert.

Again, I like the image, the catch lites should be more like 10 and 4 o'clock. They do bother me because I know where they should be. The two lights are set up at equal intensities/distance causing a very flat and unmodeled face. A one to two and a half ratio would work for this little ladys dark hair, and would creat a bit of shadow to detail the face. I also feel like she is going to lean/fall out of the frame, give her more space on her right side. Charlie.......................

Thank you both for your comments.
Charlie,
point taken regarding more room on the right. I didn't know that 10 and 4 are correct. i just thought that one was ideal and that it should be above center. I'll work on that.
Maybe the choice was incorrect, but I was trying to minimise her nose, which tends to be slightly prominent. i thought by shooting straight on with minimal shadow.........
I'll soon have some space where I can set up lights etc. and not have to tear down to set up the dinning room for dinner. I hope I will be able to get in much more studio practice. It will be very nice to be able to practice aften.

Again thank you for your time!

Marc

Marc,
Perhaps I misled you with my comment 10 and 4, I do not believe there is any thing carved in stone that says 10 and 4 are correct, however they are a starting place to build your lighting set up for each individule face. You are the artist, feel free to use 11 or 3 o'clock what ever you think looks the best. 11 and 1 o'clock usually will not be chosen as same with 9 and 3. I believe shadow is as important as high lite and must be custom designed for every face. The height of your main lite is governed mostly by the nose on the face. High enough to cast a shadow beneath the nose, but not long enough to touch or cross the lips or coner of the mouth when smiling. Then move the main to cast a shadow on to her cheek leaving a small trangular patch of highlight below the eye. Maintain the original shadow under the nose as mentioned earlier. These will be hard shadows until you introduce your fill light close to the camera and lens axis. Move it in towards the subject or back to get the ratio of light you want. If you feel the fill is too high, adjust it to where it accents rather than detracts. You can see all of this as you work with the light. Window light is tough because it generall can't be adjusted up or down, so you design around it. This works with strobes or hot light equally well. If the ilumination is brighter on the side of the face nearest the camera, it is called Broad Lighting. If the main light is set up further behind the face allowing the part of the face that is nearer to the camera be in shadow it is called Short Light, Short Light de emphasizes a round or fatter face, where as the Broad is best for a slim face. If you can find some of Karsh's work to study, see where he places the highlites and shadows. It will much better explain what I am trying to say. I my self do not believe there is a right/correct way or a wrong way to do portraits, I let the face tell me what I must do to get the best possible rendition of it. I try very hard to get the inner person as well as the outside that all can see into my negative. I am not always successful at doing this, but I keep trying! On two catch lites in the eyes, most photographers shoot for two, then spot one out in the final prints. Charlie....................

In ye oldene dayz we were told double catchlights were a no-no. touch out the small one at 1 o'clock and subdue the other one. my two cents.