E.L.. Shapiro Loc: Ottawa, Ontario Canada

On my screen, the original you posted seems to have a significant red bias. This is probably because our screens are not calibrated with each other.

Also, remember my fast edits are very quick and dirty- they only serve to help illustrate some of my points and suggestions as to issues like background management and certain post-processing ideas.

Thank you for the feedback- please post soon again!

Floyd Gingrich

This is advise for "next time." If she was squinting, try to provide her with a darker are to look into. But, if, as I suspect, the apparent squinting is from her looking at you, I would like you a little higher, resulting in a more full eyed view, and less bright sky. The full-eyed look may be accomplished by asking her to look above the camera, but maybe at the cost of a stilted "pose," rather than the natural look you have achieved.

Rongnongno Loc: FL

I will resume this to one sentence:
Learn how to control and pose a model (round back, outward turned arm, toes, dress...)

Suggestions:
Avoid shooting from below (under chin is rarely attractive).
Avoid using on camera flash w/o diffuser (avoiding hot spots and projected shadows)

This is a first try that shows your inexperience with a model posing. While this appears harsh, consider that we all had to learn hard lessons when photographing portraits, in situ or studio.

Keep trying and control your model.

Thomas902 Loc: Washington DC

Daniel the level of photographic excellence is stellar in this delightful rendering of such an enchanting young lady.
Exposure is spot on... focus is tack sharp... superb illumination with solar backlighting adding a haloing glow to her charismatic facial expression... You bonding well with this talent.... I'm certain she loves this image...

As for the level(s) of tonal range across the frame?
With time and experience you will be able to appropriately judge and effectively frame in order to showcase your subject in a most telling and favorable way... Yes it's always wonderful to have the subject as the brightest component in the mix albeit you'll not see this in your view finder however in time you will know by the histogram what to expect...

Since you've taken your craft to the next level through the use of off camera flash it is indeed entirely possible to first shoot without flash and to see where the highlights and shadows lay within the frame.
At that juncture you can drop the exposure of ambient by approximately two thirds of a stop BEFORE adding flash to the mix... thereby controlling areas of tonal range i.e. brightness...

See an example below with using only the popup on camera flash in a serendipitous quick portrait while strolling through a park with an agency signed model... She is the one who takes all credit here since she knew precisely how to emote to create this narrative... I'm only guilty of her makeup artistry... the photography was merely a "Cake Walk" in the park... simply an on camera wedding event scenario... after doing the aforementioned many many times it becomes reflex... Word!

The second image is under much tighter control, here the Key light is an Nikon SB-700 thru a large translucent umbrella... ambient was heavy overcast within a forest venue. Again the model is an agency signed albeit when this was taken she had just began her modeling journey. Yes I'm also guilty of her makeup artistry here.
If you would like to see her now please check up her Agency Page at the link below:
https://www.theartistagency.com/talent/samantha-miller

Thank you again for sharing your epic artistry with such a sweet delightfully feminine talent Daniel...
Wishing you much continued success on your photographic journey...

Sigma AF 50-150mm f/2.8 DC OS APO HSM on a Nikon D7200 (Key light: Popup flash; Backlighting by direct sunlight)

(Download)

Key Light: Nikon SB-700 Speedlight thru a large translucent umbrella... Ambient Illumination: Heavy overcast

(Download)