The first thing that occurred to me was that the subject has fullness under her chin. No one looks good from an "under-the-chin" perspective. I always elevate the camera so that the lens is level with the eyes. Sometimes even higher. (On a Skype call, I always elevate my laptop so you're not looking up my nose. Not my best side!)
Next thing, I would try to elicit some expression, some sign of emotion. Doesn't matter which emotion. Love, hate, anger, tranquility. I always view images as a record of the photographer's relationship with the subject. This relationship is "Blah." Try to engage the subject at some level. I might say something like, "Think of a time when you were: happy, sad, in love, fearful." Take it from there. I don't manipulate subjects. I engage them.
Finally, lens choice. For portraits, a longer lens seems to work better. If you have one, try a 90mm, 135mm.
The first thing that occurred to me was that the subject has fullness under her chin. No one looks good from an "under-the-chin" perspective. I always elevate the camera so that the lens is level with the eyes. Sometimes even higher. (On a Skype call, I always elevate my laptop so you're not looking up my nose. Not my best side!)
Next thing, I would try to elicit some expression, some sign of emotion. Doesn't matter which emotion. Love, hate, anger, tranquility. I always view images as a record of the photographer's relationship with the subject. This relationship is "Blah." Try to engage the subject at some level. I might say something like, "Think of a time when you were: happy, sad, in love, fearful." Take it from there. I don't manipulate subjects. I engage them.
Finally, lens choice. For portraits, a longer lens seems to work better. If you have one, try a 90mm, 135mm.