Doug,
I like everything about this photo except the color temperature -- it looks very cool (blue) to me. That could be the influence of the fluorescents or the light itself could be cool but I'd fix it in post. If you shot it originally in RAW, then simply adjust the white balance until the Bichon is pure white and not blue/white.
As for using natural daylight in a studio environment, I've only had the ability to do that once in my "home studio" which was built over my garage in Guilford, CT. I had a 4-ft. X 6-ft. skylight looking to the N and I used daylight-balanced photofloods on a track that ran down the center of the vaulted ceiling to fill. That was back in film days and it worked great for portrait work. If you have the option of renovating your garage to allow natural light, then why not?
However, the reason most of us use strobes with PLMs is to simulate the soft lighting effect of "Northern light" which artists have revered for centuries. Personally, I find Northern light to be too cool but easy to adjust in post. The other advantage to strobes is the ability to dial up -- or down -- the amount of light you want to use. With natural light, that's not always as easy to do. And, finally, natural light changes color depending on the time of day. Strobes do not. Again, most of us like to control those variables.
That said, I love to do available light, environmental portraits outdoors. I'll occasionally use a strobe for fill light but usually, just natural light and reflectors as needed. In the studio, I like to have total control of my lighting and, personally, having too many windows or skylights would force me to shutter those sources of light.
My suggestion is that if you can build in natural light into your studio, then do it. But also build in a way to shut it out when you want to use your strobes.
Jim
