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I took the reference photos by bouncing flash from the cieling. I now see that a better flash setup, perhaps with an umbrella, is a worthwhile investment to get those shape-defining shadows.
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You're quite welcome, Will.
I thought you were probably using a flash photo reference and I'd written a paragraph about that but deleted it because I felt I was assuming facts not in evidence. Since you've mentioned it I'll reiterate.
Do whatever is necessary to avoid using a flash-lit photograph as a reference. Flash is anathema to the kinds of halftone and shadow influences that are going to bring drama to your painting. Light your subject with accessory and peripheral lighting, so that what you see with your eye is what you want, and only then shoot that. Use a slow-speed film if necessary (yes, some color loss, but you shouldn't be using reference photos for color cues anyway), use a tripod and a cable shutter-release if necessary, but save yourself much grief by eliminating flash in any photos that you intend to use as a reference for paintings. And use photos as a back-up. Begin to practice life poses, at least for a couple of hours at the beginning and as often during the work as is necessary to discover all those significant visual facts and clues and surprises and gifts that a photo just can't reveal.
One area that I might have mentioned earlier in this vein is the parts of the lower skirt that should be falling away from the support of the upper legs. Because the light is bouncing down off the ceiling, there's no indication available that the fabric is draped over the young woman's legs. It looks stiff. It all seems to be on a continental shelf, metaphorically, and then plunge all along its entire width into the deeper sea. The opportunity is there to produce dramatic waves in that fabric. Grab the tiller and sail through it a bit.
Best wishes.