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Here are the results. Comments and critiques welcome.
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Michael, I am going to be the guy who critiques... I try to avoid this form of involvement simply because one man's ceiling is usually someone else's floor, but in this case you might benefit from some direction. First off, congrats on the work contract, that is a great accomplishment in itself - I hope it is financially as exciting as well.
As you already stated, black cars are a nightmare, in fact you will notice that about 70% of all ads - both print and tv - are silver cars; they are much easier to photograph. Black is one giant mirror and in some ways worse because they are black, at least a mirror is clear and rarely shows dirt: Black cars show everything. In the first shot all I can see are the reflections of the garage: The ceiling, the floor, the odd shaped item that is along side the passenger door - that is a very distracting reflection. The reflections need to show the lines of the car, the shape and the speed, the sensual curves and magnificent design. You want solid reflections and horizon lines to enhance the car's personality, you will always see great horizon lines in the reflection of a good car shot... always. This has tremendous value in boosting the subliminal connection with the car - seeing the horizon is a depiction of freedom and a boundless relationship with the car's power and speed - unleashed freedom. Also I as the viewer don't want to be staring up into the intake of the car seeing it's inthralls... this is no more desirable than seeing up a model's nose and seeing what lurks in her sinuses - sort of a beauty killer. This is a good perspective, the angle and composition of your shot, the light was too direct into the opening.
I like to go to a place that has the perfect surroundings for shooting reflections in the car's paint; i.e., great clouds and sky, maybe tree-line, cool buildings, etc. A huge parking lot is good (I usually shoot on a Sunday morning, lots & streets are empty) so you have a lot of tarmac to reflect off of the lower half of the car... and if you can get away with it, wet down that tarmac so you richen the pavement (something I could not do - but wanted - in the shot below).
I won't comment on the second shot, I think you can assess that for yourself, but I needed to point out what you should look for in car shots in magazines, etc. You can find a great location and use it for all your shooting, one that gives you everything, shooting in a studio or a garage can be a very big production. I shoot cars enough to know there is more than just a nice automobile in a photograph - in a phrase, cars are tough to shoot... but very exciting.