Chris, as a constructive criticism, may I suggest you ask your model to pull her shoulders back a bit, straighten her back, pull in her stomach, and push her (Front) up and out a bit?
Beautiful girl, but your next shot(everything else being the same) will look better if you coax her into a better posture.
one technique I use is this:
(practice on yourself till it makes sense)
Exhale all the air in your lungs.
Make a motion like you're inhaling, but instead of drawing in air, pretend to block off your airway in the back of your throat, and pretend you are inhaling your stomach, pulling it into your chest cavity, instead of air into your lungs.
You will automattically straighten your back, pull up your shoulders, slim your waist and push out your chest.

Even when you are practicing, you'll find that you can achieve very different looks, with the same images.
Here's a couple of practice shots Gerri and I Worked on.
We collaberated on the setup, took the same shot into seperate workstations and came back with very different images...
Which do you like?
Personally, I'm going to rearrange the props for when the customer asks for this type of shot, but two different photographers will see the same scene very differently!

funny but I think, that a little softness (no matter how it is induced) goes a long way towards reducing unwanted blemmishes.
Overexposure does the samething.
posing the model to hide flaws..(ie straight on to hide a nose, 2/3 uneven eyes or scars, and profile to hide half the face, profile with hair hanging down to hide most or all of the face, tilts and angles for double chins etc).

I think you're using old, perhaps forgotton, hollywood era, pre-photoshop in camera image touch ups!

I think the worst thing to happen to portrait photographers, was competition judges some time ago came up with "standards".
Basic portrait 101, 3lights, 2 umbrellas, 1/2 to three stops difference between highlight and shadow, 5 or so basic poses......

All of a sudden some big retail chain comes along and says "hey the equipment is expensive, but any minimum wage earning kid can push the button...

Now the equipment isn't all that expensive either....

So what to do?

I'm trying to sell the photoshoot itself as a great experience.
I try to create images that the client will love.
I need to build a relationship with them and learn what appeals to them individually.
So no matter what criticisms you get on your work, remember You need to be your own worst critic on your technique, and she'll be your worst critic on the final print. You only have to make ONE person happy...her.

six years as a pshyciactric nursing assistant, I've learned a few things:
don't isolate yourself, get around people, churches, clubs (not nightclubs), friends etc.
get busy...make yourself get out there, volunteer, make up work projects, take up hobbies.
get help...Dr's, therapists, friends or family that will listen, and take it seriously. accept thier help.

people Do CARE.. it takes years of bad thinking and hard effort to convince oneself oherwise, it takes effort to break the cycle.

I've noticed a reluctance to carry the lenses in stock with most retailers, in my area.
Pentax has been trying, as many retailers have had one or two lenses instock, and usually one store will have one and another store will have a different one.
That's the retailer, not pentax, every retailer says "We can order one in"
I have seen all but the very newest digital offerings, and a bunch of others, over the last 6 months, just not at the same place and time.
yes the k10 could've been priced higher, and made less compatible with older lenses, but then they'd need canons ad budget to leverage the retailers to stock them.

I'm with JR on htis one.
Whatever lens you have that suits the subject/composition/light is the ultimate if it gets you the best shot possible.

Let he who among you is without sin, cast the first Nikon.
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George is right.
"the best lens for the job" occasionally is a long range zoom, but more often than not, better quality can be had with shorter range zooms or primes.
in the film days my 28-200 was one of my favorites for event/wedding photography.
but I always had more cameras, equipped with a portrait lens, and a fast prime. could always grab the best camera&lens for the shot.

so for the price of that tamron you could get something like a canon is5, (I have a pro one and a g5). Or a second k100 and have quality lenses on each body to give you the zoom range you want with better quality results.

but if the image quality is ok for your needs, then the tamron 18-250 is top notch in it's class...

on the mac, you can drop it into a smart folder and use iether applescript or automator to rename, copy, move, resize, backup or even process with other apps automattically. (Any combination of the above is possible).

you could even drop it into Idisk and have it ready to share on the net.

I for one started out with film and lived and breathed photography, and film was all I had.

I switched to digital, gave up film and live and breathe everything digital.

I went back to school, and started film again. (b&w, slide, print, 35mm through to 4x5).

The film stuff I've turned in at school is no where near as good as my current digital work (no surprise...I knew what I was doing when I decided to switch), but also no where near as good as the stuff I used to produce Before digital! (big surprise...didn't see that comming).

Bottom line? For me it's this:

You'll do your best work with whatever tools you're passionate about.
For me digital is way better than film.
If your best work, in photography isn't better than your competitors, then stop doing what you're doing and try something different.