No amount of my telling you which photos of yours I like or don't like, is going to get you over the hurdle of the gap. Only doing work — doing a LOT of work — gets you over it. (And trust me, he will assign you a lot of work.)
When you do your work, as you're doing it, ask yourself if it's good. Look in the frame; check your corners, look at the entire image. Is there too much stuff in there? Not enough? Where does your eye go? Look. Then look again. Then look a third time. Check your composition, your lighting; make sure you've managed to connect with your subject and engage them. Then hit the shutter. Then check all over again and hit the shutter all over again. Get to the point where you can do this in the same way that you write without having to constantly worry about whether or not you've used correct grammar and punctuation — which is going to take a bit. Try to remember that everyone goes through this, and yes, it does suck.
Now — do these shots work for the class assignment? These are shots of People Doing Things, rather than the assignment — which was a portrait of someone, with a table or chair being used in the shot. I suppose you could argue that the 'rocket' is a kind of chair, and you might get somewhere with that argument — except that there's very little sense of who the subjects are as people. For the most part, they're simply attractive women's bodies contorted, sometimes in interesting ways. I looked through all 18 shots, twice, and I'd have a difficult time picking any of those women out if I saw them on the street. What do I know about their personalities? Their emotions? Their mood? But, are they okay as shots for a personal project about women-as-sexual-objects? Now these have some possibilities as a starting point for that project.
Here's the thing — I could spend the entire seminar art-directing your work before you bring it into class, and then critiquing it a second time in class — but that's going to directly impact how quickly you close the gap. Relying on me to do it will actively stunt your artistic growth. If you have to sit down with your work and make decisions about what you're bringing to class, about what you could have done differently, then you're building up your confidence in your own work, and building your own sense of discernment. You're developing your eye. It's better in the long run for you and your work, if I wait to give you a detailed critique until we get into class. Also, then you can hear it in context with the other students' and instructor's critiques.
I know you want help presenting only your best work in the class, especially if you're comparing your work to the other students' work; and I know it probably seems like I'm being an asshole for not helping you in the way that you want. I know! I'm more than willing to go out shooting with you; to include you in shoots I set up of other people; to help you with holding lights when you're the one shooting; I'm open to brainstorming ideas for the assignments, for doing post-mortems on how class went — all that stuff, I'm totally game for, and happy to help with.
Which is probably the longest 'no' I've ever written, but it's useful advice, nonetheless.