No worries on the ordering - imgur's had that problem for a long time, and it's one of those things we've come to accept. It's still much easier on us when students use imgur even when the album's out of order, as we can scroll around and view pages at a large size without having to click on every one.
Starting in with your cylinders around arbitrary minor axes, your work here is coming along well, although I do have a few things to point out that will help you continue to get the most out of this exercise, and in constructing cylinders in general.
Firstly, remember that the ghosting method should be used for every mark we freehand - I noticed that while you definitely used the ghosting method in some areas (definitely on the initial minor axis line the cylinder was constructed around), but less consistently in others (like with the side edges). This resulted in wobbling and wavering, which isn't uncommon for longer stretches, but it was there for some of the shorter ones too. I also noticed that you likely weren't using it for your ellipses, where you also frequently forgot to draw through your ellipses two full times. By and large, just a number of basic markmaking concepts to review/recall from Lesson 1, so you can ensure you're applying them as you were when you started on this course.
Another point to keep in mind - and this is less of a correction, more of me sharing this information with you for the first time - is that foreshortening manifests in both the ways in which the ellipses change from one end of the cylinder to the other. That is, the change or shift in overall scale due to the convergence of those side edges squishing the far end down (we can also think of this as being the result of that basic rule of perspective, where farther things are smaller overall), and the shift in degree from one end to the other. Because these both represent the same thing - foreshortening, or how much of the object's size exists in that "unseen" dimension of depth - they have to work together, in tandem. If we have a more dramatic shift in overall scale, it should be matched with a similarly dramatic shift in degree, leading to both a much smaller and much wider far end. In cases where this is neglected, like 104 on this page.
Something I noticed more and more as we get later into the set - for example here on number 125 and to a slightly lesser extent 124, here on 127, 128, 129, 130, and so forth - you start forcing your vanishing points to infinity more and more frequently. That is to say, you stop trying to get the side edges to converge, and instead draw them as parallel on the page. This is actually addressed quite specifically in the lesson material, here. While this can be a much larger issue (in cases where students do it through the entire set), as you only really seemed to slip in that pattern of behaviour towards the end, I'll leave it to you to reflect upon why exactly that occurred, and to review the notes I linked to better understand why it is incorrect.
Continuing onto your cylinders in boxes, your work here has by and large been done well, although I do have a few points to share with you here as well. This exercise is really all about helping develop students' understanding of how to construct boxes which feature two opposite faces which are proportionally square, regardless of how the form is oriented in space. We do this not by memorizing every possible configuration, but rather by continuing to develop your subconscious understanding of space through repetition, and through analysis (by way of the line extensions).
Where the box challenge's line extensions helped to develop a stronger sense of how to achieve more consistent convergences in our lines, here we add three more lines for each ellipse: the minor axis, and the two contact point lines. In checking how far off these are from converging towards the box's own vanishing points, we can see how far off we were from having the ellipse represent a circle in 3D space, and in turn how far off we were from having the plane that encloses it from representing a square.
All in all you've held to this fairly well, but there are some considerations to keep in mind in order to keep getting the most out of this one.
Firstly, always strive to have your ellipses touch all four edges of the plane enclosing it. You will miss here and there, but definitely make it your top priority, trying to avoid any gaps or overshoots to the best of your ability. This will ensure that the ellipse (and its line extensions) accurately describe the proportions of the plane. Secondary to this would be trying to get the ellipses to align to the minor axis passing through the center of the box. While you won't get this right all the time, when done successfully, once the lines themselves are extended it would generally put the focus on the contact point lines, which specifically relate to the proportions of the plane/box.
Secondly, be sure to always extend your lines in the right direction. For the most part, you've done this well, but I did catch at least one case (52 on this page) where you extended them in the wrong direction. It's likely that you just got a little careless there.
And lastly, when your cylinders get longer, you end up running into more cases where your sets of parallel edges converge in pairs, rather than all four at once. This is normal, but it is a sign that you need to be actively pushing yourself to exaggerate those convergences, the longer the cylinder gets. This does not appear to be an issue that was improved upon much over the course of the set, which suggests to me that you may not have been attempting to address it, so be sure to keep an eye on that when practicing this exercise in the future as part of your warmups.
Anyway, all in all, definitely room for improvement, but you're headed in the right direction. I'll go ahead and mark this challenge as complete.
Next Steps:
Move onto Lesson 6.
This is a remarkable little pen. Technically speaking, any brush pen of reasonable quality will do, but I'm especially fond of this one. It's incredibly difficult to draw with (especially at first) due to how much your stroke varies based on how much pressure you apply, and how you use it - but at the same time despite this frustration, it's also incredibly fun.
Moreover, due to the challenge of its use, it teaches you a lot about the nuances of one's stroke. These are the kinds of skills that one can carry over to standard felt tip pens, as well as to digital media. Really great for doodling and just enjoying yourself.
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