Ok, critique time. Since no one else wants to give any real constructive critique that will help this young lady improve her photographs. I will.
Image 1. The best lit areas are the side of her nose and her right cheek. Had she been properly posed with her body at a 45° angle to the camera (thereby slenderizing her body) that would have also brought the main light in at an angle that would have lit her face better without her having to resort to an extreme twisting of the neck which always looks strange. It is these little things that portrait artists both painters and photographers have been doing for 500 years that make the difference between a "nice photo" and a "wow great photograph." Old school? Sure is. Still needed? Sure is.
Image 2. The main light was positioned on the wrong side of her face. When the main light is positioned like this (opposite the side that she parts her hair) the hair leaves a shadow across the eye thereby darkening it. Also she is flat to the camera making her body appear wide. Does any woman want to look wide? The last 50,000 women I have photographed have wanted to look thinner but this is the new millennium, maybe they don't care if the look thin anymore.
Image # 3. Same lighting as in # 1 but now her body is turned too far which makes her head look overly large for the small base it is sitting on. The body should be turned at a 45° angle and the main light should cast pleasing shadows.
Image # 4. Her flat hand is nearly as large as her entire face and the brightest lit area is her chest. The brightest lit area of any portrait should be her face. The side of the hand photographs much better than does the flat of it, and all that is required is a simple turn of the wrist.
Image # 5. Again her chest is the brightest lit area of the entire image and again her body was turned too far away from the camera. Had the main light been at camera right instead of camera left her chest would have been in shadow and her face would have received the brunt of the main light. Also the main light was too low. The main light catchlight should be at the 11 or 1 o'clock position in the eyes.
Image # 6. Again the main was too low and she is broad lit. Broad lighting tends to widen the face.
Image # 7. See critique of # 6. Also the critique of # 2 plus her cheek is overexposed.
Image # 8. Her right cheek is overexposed and there is something white at camera left hanging across her shoulder that looks out of place. An artifact perhaps?
OK, now that you have received some legitimate critique from a real working professional photographer and photographic instructor you can do one of two things. Ignore me (I assume you will choose this one) in which case your work will stay the same or take my advice, resolve these issues, learn from a professional and you will grow and your work will improve. The choice is up to you.
Most newbies don't want to learn the rules of good portraiture, preferring instead to shoot from the hip and get lots of praise from fellow newbies that also don't know anything about what separates good portraiture from thought out but nevertheless pretty snapshots, but pretty soon the bubble will burst. It happens to all of us. We get our first real shoot with a real customer (not a friend, classmate or workmate) and we decide to begin charging some decent money. We shoot just like we have been shooting you know the same type of shots that gets all the raves from our friends, but the client doesn't like the work. She says things like "she doesn't look quite right in any of them, but I can't put my finger on it" so they either don't buy anything, or they buy just buy a few dollars worth. The image maker is MAD so the image maker posts the images for critique to justify her hurt feelings in the hopes that her fellow newbie photographers will come to her rescue. She does get a few" she was a jerk, these are beautiful shots" comments but she also gets a number of honest critiques which hurts. This will prove to either be her undoing. She will do one of two things. She quits being a "professional" photographer and returns to her real daytime job or she digs in and accepts the critiques offered by well intentioned people who only want to assist her in becoming a better photographer. I have seen this exact scenario quite a few times in the last 30 years, in fact this exact same thing happened to me, but I swallowed my pride, quit listening to my "friends" about how "beautiful" my work was and began taking harsh critique of my images.
Duly noted. I accept honest critiques, and I appreciate them, too. There were two other photographers taking pictures at the same time, and we all fought for good shots, and I think I did pretty well. And might I just add, this is a hobby of mine. Have I mentioned AT ALL yet that I'm making this a career? Why, no. I simply want to make photos that people enjoy and photos I'm proud of, and I feel like I've done so. If you don't like them, that's perfectly fine. I'm a baker, not a professional photographer, and I NEVER stated otherwise. I am here to learn from the best, and well, your work just doesn't really do it for me. So, I will consider your critique and try to fix some things... just like I did with the other critique I've received thus far. But otherwise, I'm done with your arrogance and pomposity. Thank you.