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Compositionally, an object or division exactly midway in the format tends to stop the action or movement around the piece, resulting in a static rather than dynamic composition. The classic example of this is the tendency in landscapes to place the horizon right in the middle of the format, with equal amounts of land and sky. It's the push and pull between and among dominant and subordinate areas that provides the energy in a composition. The lamp's vertical base had the effect on me, when I first looked at the image, that it almost equally divides the horizontal distance. Whether lamp or horizon, it doesn't require much change to establish a more dynamic triangular or circular movement through the composition.
But all the parts are interrelated, so it may well be that other aspects can be altered as well to help. Yes, there is too little space between the girl and the border to the right, but there is perhaps slightly too much behind the mother. Shifting the two of them at least slightly to the left would bring the "weight" of this center of interest -- particularly the girl's face -- more into the play of the composition. She is the star of the composition, so you don't want her standing over in the wings.
I overstated when I said a format "far" more height-width proportional. A modest adjustment perhaps. The format just seems very "tall" to me, considering that the portrait subjects are seated. Admittedly, it's difficult to visualize exactly how altering the composition a little might affect even that call.
If I had this in Photoshop (instead of drafting this in my gray work cubicle on company time), I would be tempted to see what the composition looked like with the positions of the lamp and orchids reversed, and with the orchids bending to the right instead of the left. This would retain the lamp but keep it of secondary interest, and perhaps create a circular movement through the orchids and the subjects' heads. The white vase would likely be a distraction and would probably need to be muted in hue and value. In fact, even if the composition were left as it is, I'd consider those changes to the vase.
Perhaps I can illustrate some of these notions when I get back to my home computer, with image manipulation software.
I very much envy you this reference. These subjects are just beautiful, and their physical relationship is spectacular. (I suppose I should reiterate that I'm referring to the first image.)
Later thought -- I always squint a lot at a reference to assess the overall value design. I just noticed the interesting way in which the light value of the subjects' clothing forms a heart shape. You wouldn't want to make too much of that, but when it popped out at me, I liked it a lot.
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