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As Steven rightly pointed out, the values are the key in this (and every) painting.
I have put the heads from the reference photo (on the left) and the painting (on the right) side by side in Photoshop and posterized them in black and white.
You can see immediately that the large masses of the heads are too flattened, too much all the same value. In the painting there is no sense that the lower parts of the cheeks turn under and away from the light source, for example. The bottoms of both chins need to turn under and away from the light too, and not be so pointed, and should not be painted as if they were on the same plane as the front of the chins. The brow ridges face upwards and need to catch more light. The area under the eyebrows, especially on the figure on the right, need to turn under and away from the light also.
It might be helpful for you to look at some anatomy diagrams (skull and muscle, or the famous Asaro Planes of the Head models) to help you understand and therefore see what parts of the skull generally face up into the light and what parts face down and away from it.
Of course, there is always squinting which will help you simplify and see the large value differences more clearly. Hope this helps.
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