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Try, try, again
Michele,
Sorry to be the bearer of negative opinions, but I see trouble a'brewin' here.
The idea of using window light and a reflector board doesn't allow for the shadow illumination necessary to build a believable painting.
As I've noted many times here, what looks good through the lens may not translate well in a photo, which has a far more limited value range than your eye. The values in the hair, dress and background shadows are devoid of detail and tonal information as well as separation, so the image naturally flattens out.
A reflector that illuminates her skin shadows cannot provide adequate light to areas that are farther away. If you want control over the lighting in photographs, you need two lights, a main and a fill (to control the light to shadow ratio).
Some erroneously point out that there is only one light source in nature, the sun, as justification for a one light setup (be it artificial or natural). However there are actually two. Sunlight and skylight work together to illuminate the light and shadow side of forms in nature.
A reflector fill is a flawed concept because it cannot provide even illumination the way that skylight does. A soft light source (umbrella or softbox) placed near the camera position is the secret to providing even illumination in shadows. It can be moved closer or farther to create the correct ratio. You need to experiment to find a workable distance. Using an incident off-camera light meter is very important.
The fact that you needed to "photoshop" your reference should raise a red flag to the fact that your reference is lacking.
The shadows should have very little tonal variations in contrast to the more active lights where the attention should be focused.
I also feel that the way you wrapped the light around her face is very unflattering for a delicate female face. Forget the window as the source and give her face more light. The vast majority of masterly portraits do not include the light source in the painting, especially in the case of beautiful women. Play the percentages.
Before you take your pictures cut a small window mat and view your subject through it. Looking through the camera makes it much harder to evaluate what lies before you. Move things, rearrange the lights until what is in your frame looks good, and you will get a far better painting from square one.
If this is an important commission, give yourself a fighting chance and take adequate photos to work from.
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