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What you see is what you get
Thanks for the kind words Enzie and Chris. The answer to both your questions is actually the same in an odd way. My basic philosophy of painting is to paint what I know. This entails observation based on knowledgeable presumption.
In the case of the hair I know that the hairline is a soft transition that is created by the overlaying of individual hairs casting shadows on the skin so I look to emphasize this. Furthermore, since hair is soft I look for any indication of this trait and exaggerate it.
The same is true for reflected lights. Reflected light is a function of color, not value, which I have previously stated. If this is not understood then the tendency is to lighten the reflected light value wise and thus flatten the form. When the light hitting the skin bounces into skin shadow it intensifies the skin color (additive color theory)and the result is always more chromatic. If the subject were wearing a light blue shirt the reflected light would be totally different.
The key is to have knowledge and then look for
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