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Yes, this little guy is coming along nicely.
Just a couple of Post-it Notes to stick on the wall for later.
I know that you're working on something else right now (skin tones), but come back to the transitions between the value areas and make sure they aren't too sharply defined, which will "read" as one flat plane turning quickly into another one. Even in the photo I can see that some of the purest color lies in those slower, softer transition areas. It will be easier to introduce that effect if you're working in wet paint, so that you can more effectively and seamlessly knit the areas together. Don't be reticent to repaint the adjoining areas if necessary, in order to have enough material on the canvas to work with.
The diffuse top lighting is making things difficult to read (as you already know). One area that I think could profit from the slightest tweak is across the top of the forehead. I think I'd reserve your brightest, coolest light for a relatively smaller area and gradually admit a bit more color and warmth as the planes of the forehead move out of that direct light (around the temples and as the light area meets the middle tone across the middle of the forehead). This will be subtle, as you'll have to still keep that slight enhancement within the "light" value of that area as a whole.
One last "value" note. The nose looks pinched, and I can see that it's because the small triangular shadow shape describing the upper wing of the nose is too dark, suggesting a stronger recess in form there than I think is indicated in the photo.
This may seem now paradoxical to say, but make any such modifications in the same painting style you're already using. This isn't a piece that will tolerate "overworking" in this or that area, so keep having the fun with it, too, that we're already seeing.
Cheers.
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