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Brian. I appears you misunderstood my comment. I wasn't suggesting single flash with a bracket.
No, I know what you meant: key and overlapping fill. I don't have your depth of experience with brackets, since I haven't been using them for 40 years, but I do understand the concept. (I've only been using brackets since June of '73; that's what? 38.5 years?)
...That would also explain why side of the face is in shadow - the fill was shaded there because the camera flash put to to the right of the lens.
The right side of his face is in shadow because I chose to create short lighting by placing the main light to camera left in order to create the shadow on the right side of his face. I also chose to turn the camera to put the fill on that side in order to augment that shadow.
I could have put the main light to camera-right in order to put the shadow on the left side, but that would have been broad lighting, which I did not want. (I wanted to de-emphasize his ear a bit, among other things.)
...At the same time the shadow cast by the nose and catchlights of the eyes seem to indicate the key light was higher than the head and to the left, possibly bounced or diffused?
In this case the main light was direct, not bounced and not diffused.
It was only slightly above his eye level, because that's where the only shelf on the peninsula of the dispatch console was. As I mentioned in my post above, if I had brought a light stand (or if there had been a higher shelf) I could have still got short lighting, but with a more-classic loop shadow from his nose, but that wasn't an option at the time.
I didn't bring my camera to work today, but if I get a chance tomorrow I'll recreate the setup I used and take another shot, this time with the fill flash not firing, so we can see how much of the light is contributed only by the main flash. You may be right about which light actually created the visible shadow on the wall; it'll be an interesting experiment.