Introduction
Telefo(to)n is a game involving photography and at least three participants.
The game follows the logic of a Chinese Whisper, but with photographs. Over a set numer of rounds and a determined order, each participant will submit an image from their archive to the next participant based on the image they have received from the previous participant.
This page documents previous submissions I received and passed on and is designed to invite my dear friends to participate in the game by making their opinions heard about what the upcoming submission should be.
• Latest submission image
• Curren selection of candidates in response
Submission Rules
In the case of my cousin Sandy Connell and my brother Stanley Connell the three of us have formulated a set of rules by which to play the game. In the fiurst run of this game we will entertain a total of 12 Rounds with 3 exposures each, equalling 36 total exposures. Furthermore, we submit an image on every Wednesday night, hence one week every participant has to decide on what to associate the latest submission to them with. Only analog photography is allowed and all submissions must be printable in the darkroom without any digital tools involved. A very important rule is that under no circumsances should the person not involved in a submission know about the image submitted. I therefore have no knowledge of any image that Sandy has passed onto Stanley on the basis of my own submission.
We have specified further rules but the above mentioned shall suffice here.
photographer: Ella
Exhibition & Publication
In the upcoming edition of the Brockley Open Studios we plan to exhibit all 36 images in a carefully curated fashion and we shall further produce a book containing all images, photographs of ourselves as a collective, the stories behind every image and what people have considered submitting next — all woven into a comprehensive linear narrative.
The exhibition is due in July 2026 in Brockley/London SE4.
The dice decided to see my kick off the entire game with an initial submission. In every new round I will submit to my cousin Sandy and later will receive a submission by my brother Stan.
Notes
Note: I picked up analog photography in July 2023. Hence all my archive merely covers the last two+ years, including only a few travels. However, I had shot around 20 films with a simple analog Olympus Mju II camera which my friend and longterm analog photographer Tobias Korne had lent me during my travels in Southern India back in 2010. That, in fact, was my very first attempt at shooting analog and there have been around 13 years before seriously picking it up with no images shot meanwhile.
Previous Submissions
Initial considerations
Since the dice decided it were me who will kick off the game in free style, as it were, it was all down to me to find a suitable image that may cast and dissipate various shades of a possible narrative.
One of my favourite in-place double exposures taken in Bremen in 2023 shortly after I picked up photography was soon a very strong candidate to get this game up and running.
A double exposure would work really well since it opens up many cans of worms for the recipient, which is Sandy.
And since the outcome is unforseeable I instantly went along with my gut feeling.
R01A: Tim
2025/08/01
R01B: Sandy [undisclosed]
2025/08/08
R01C: Stanley
2025/08/13
Instant Thoughts
I know this picture of Stan’s, hence there was less surprise involved than I had perhaps expected. However, this is a fantastic and hugely strong image I see plenty of potential in. I do know of its background and my associative capacity thus is somewhat limited. Be that as it may, I was able to disengage with my initial thoughts and assume the position of a neutral observer.
This image delivers strong motion, uncertainty, choreography, unpredictability and light interplay. An appropriate response will involve at least one of these elements and while my archive is arguably full of many candidates I chose to stick to three candidates that I feel very strongly.
Submission Candidates
Candidate Selection
»Forest Hill Gate«
渋谷 Shibuya, 2024
being teleported down the escalators towards the world’s arguably most busy pedestrain crossing, in Tōkyō’s 渋谷 Shibuya station. People come here to witness the density of crowds crossing all ways and diagonally and therefore become the same density for all others to witness. A self-fulfilling prohecy, and meanwhile people drive around in circles with loud, fancy cars to end up as the first ones at the crossing to illustrate their vehicle in front of thousands of pedestrians.
Facts and countings vary, but it is known to accomodate between 500.000 and 2.500.000 people per day while a single green light crossing — at a rate of every two minutes — sees roughly 1.000-2.000 people cross the street.
This escalator, however, is only leading up to it.
I suppose the clear presence and mass of people visible in this shot may reduce a few compatbility points.
7/10
»Raqsama«
Localize Festival, Potsdam, 2023
A double exposure of freely dancing folk and cable assemblage of the DJ decks from my early photographic practise.
It augments Stan’s submission beautifully and meanwhile has inherited a name which is very close to what STan had initially captured.
8/10
»Possible Ceasefire«
Leipzig, 2024
Demystification:
This image was shot and later vertically flipped at a canal in Leipzig’s city centre, capturing only water and its reflections at the point where the current is broken by a small ledge and thus dissipates the lights of the building across on the other side.
It serves as a perfect transition from Stan’s image to a possible next and I would be curious what this submission would result in.
10/10
R02A: Tim
2025/08/20
R02B: Sandy [undisclosed]
2025/08/27
R02C: Stanley
2025/09/03
Instant Thoughts
At first I was heavily puzzled as to how the blurry image full of fire that I had submitted resulted in this crispy, dry, cold and ever so slow atmosphere of sharpness and quietude.
The obvious link is fire and thus wood. Albeit, my image did not include fire in the slightest — quite the opposite, and Sandy surey knows this being familiar with the image. Yet, the visible link and association by the neutral is what we surely all consider when submitting next.
As for the continuation of this narrative string, there are plenty of associations I could address: Alignment, statics, trees, forestation, density, coldness, arrays, naturality, poles, shelter, groups, aridity, stability — or, the opposite even: wetness, fragility, artificiality, separation, isolation, urbanity. What is more, the mood of the image could too be addressed by notions of contemplation, solitude or a possible observer’s perspective. I could go even further and address a possible extension and meaning of what we see, or, go with substantially obvious associations like: trees.
Submission Candidates
Candidate Selection
In conversation with Xenia and my dad mainly, I have stripped the list of candidates down to 7 possible submissions:
»Transmogrification«
London, 2023
These are the first films hanging in our tiny bath room in London that my brother Stan and I had developed together on a day solely dedicated to this purpose, English breakfast and a pub visit.
The vertical alignment of the hanging neg strips and how they seamlessly become the tiles is what struck me as an entirely optical match.
7/10
»Distant Relatives«
Brockley, London, 2023
On a pristine windscreen of an urban vehicle we are being reminded of a naked poplar presence — without the likes of which this neighbourhood would be noticeably more affordable.
Albeit, marginal, of course.
7/10
»Breath of a Bell«
奈良 Nara, Japan, 2024
The ‘roof’ of the stone bagoda hosting a contemplative shrine and resembling light components in the blurred mechanical background remind me strongly of the protective hood provided by the trees, layered in similar layout.
7/10
»Arch Rivalry«
尾道 Onomichi, Japan, 2024
The deep forest and all its representatives perhaps know little of other fates of their siblings in urban environments. Here, A tree is both cut to fit human ‘needs’, requirements rather, and had no choice but to bow down make way just the same.
Mind you, perhaps they do know and appreciate their ‘freedom’ — or, they do know and are quite curious.
8/10
»Take a Deep Dive«
尾道 Onomichi, Japan, 2024
The fragile heap of collectibles and usables — many of them featuring references to trees and flora in their outer design — may serve as an antithesis to the rough, independent giants we as human could merely move or cut by force.
Similar density, when considered from afar, the forest may entertain similar fragility. As would a piece of paper, cut from wood, never ever harm any of these bowls.
8/10
»Narciss«
Babelsberg, 2025
Where the forest ends it may look at a bright wall, with custom frame for its very own shadow.
9/10
»Magic Tree«
LAM, Budapest, 2025
Artificial branches combined with dedicated lighting have served as a somewhat logical continuation of the wild, cold and bleek forest.
This picture was taken at the Light Art Museum Budapest during their exhibition Phantom Vision. Thijs Biersteker‘s Installation »Exontinuum« seeks to question how […] trees communicate with each other?
8/10
R03A: Tim
2025/09/10
R03B: Sandy [undisclosed]
2025/09/17
R03C: Stanley
2025/09/24
Instant Thoughts
One of the many unusual circumstances for me when visiting the UK is the availability of a so-called smart mobile device. Back in Germany I am not accustomed to being virtually connected and available to the pseudo public when away from the house and local network. For this reason it caught me by surprise when I saw the latest submission in my inbox on the small screen which it wasn’t intended for. I had been distracted greatly last night by the mezmerising presence of mademoiselle Zizi and our tentative and tender border crossing.
At first glance I was sucked into an intimate mood that were’nt my own and I felt like an unexpected visitor in somebody’s very personal space. Assuming a lady in the picture her glance is one of patient interrogation and clearly the ball is in my half of the field. The mirror she currently pays no attention to, on the top of what appears to be a shrine, casts the shadow of a professional preparation for a public act over the scene. She is preparing her performance, dedicated to cosmetics and superficial perfection to support illusions we pay for.
Whose arm is it though in the reflection?
No, she is preparing food, not herself.
Judging by the sockets we are currently nowhere near the UK, supposedly in Germany. Who is she?
I cannot recall having taken any picture with either such composition, mood or material setup and as opposed to previous submissions this very one does not lead to immediate associations, at all in fact.
Furthermore, the image is tilted which distracts me all the more.
Wondering about which kind of image could have led to this very one based on my own submission I would dare conclude notions such as juxtaposition, reflection, parallels, intersections or encounters.
Now it makes me think of Naemi’s picture I printed and even solarized on the old Tetenal paper. All copies of which went over the counter during our last exhibition. Thankfully I was able to retrieve one of the prints for a new scan for it to feature in the game.
Submission Candidates
Candidate Selection
I ended up picking 6 candidates for the next submission:
»Afterglow«
Sophie in the Cinema, Thalia, 2023
7/10
»White Hole«
日暮里 Nippori, Tōkyō, 2024
8/10
»Creepure«
弓削島 Yugeshima, Japan, 2024
8/10
»Nemi«
Potsdam, 2024
Solarized Print.
7/10
»Blutmondin«
Teufelsberg, Berlin, 2025
9/10
»Who is to pose«
Rechenzentrum, Potsdam, 2025
6/10
R04A: Tim
2025/10/01
R04B: Sandy [undisclosed]
2025/10/08
R04C: Stanley
2025/10/15
Instant Thoughts
Next up is a »Lightning Round«
A Lightning Round is one where each of us have to submit our images all within one week, thus we each individually have a third of a week instead of a whole week to decide and submit. This equates to 2 days and 8 hours each.
He is a cheeky one, is Stanley.
I had thought and talked about this image at length during our last BOS-outing in July this year. If I remember correctly it had gone over the counter all the way to Stephanie, who may or may not have actually picked up her prints from the Château yet. Who knows.
Either way, of this magnificient shot a large print already exists so Stan need not make a new one for our exhibition. Cheekers! Mind you, if Stephanie holds on to it, he may as well have to make a new one..
It does in fact resemble his previous submission both in style, contemplative ambience, scenic interpretation scope, composition and emotional drive from where I stand.
With Milly performing quietly on the piano, instead of going with a more literal translation from one of the above mentioned criteria into the next my own image, I therefore consider to choose either a counterpart, an audience or distant thought of Milly’s.
A counterpart could be a very wild, fuzzy, vivid image, perhaps taken from another concert or musical/performative scene.
After a throrough scan through my archive — and having built a little patch that randomly selects exposures from it — I have collected a handful of shots that could be well worthy of lining up with Milly. I am mindful of not submitting anything too close to my shot of Alina in the last round.
Submission Candidates
Candidate Selection
After yet another scan of the candidates I have come up with four possible options:
»Afterglow«
Sophie in the Cinema, Thalia, 2023
This shot was one of my very early takes. Sophie is by no means of such vital relevance to my life as was and is Milly to Stan’s, however, there has been more than just a tender friction between us while she sure enough would have lked to see more of me. The reason this picture works furthermore is because of the contemplative mood and mirrored composition of someone listening to their own feelings, rendered by an artwork she just experienced — much like Milly performs this very minute, this very moment. What speaks against it is the prospect of Sandy having submitted a lady girl as well, with this picture possibly being 5th if not even sixth of its kind in the game across two rounds.
What would it lead to?
7/10
considered before for the previous R04A
»Deep Blue River«
Love Boat Festival, Potsdam, 2025
Taken at the Love Boat Festival with a constant Bokeh filter screwed onto my wide angle lens this shot more than captures a very fueled moment, compositionally and in terms of mood. Almost as if the couple is motivated into limbic action by the contempaltive mood that Milly provides. It is a great follow up and possible turn in the narrative that could lead to many further associations worthy of looking forward to. The colour scape is exceptional, albeit, I would once more submit a colour image, not sure whether Sandy has done the same for Stan earlier.
8/10
»Aquarium«
Langer Stall, Potsdam, 2025
Of course a biased decision for at least two reasons:
Xenia being on my mind virtually all day today due to her challenging of late words shrouding my vision. Secondly, I have just come home from the darkroom with this colour print having been rendered almost more satisfactory than the digital print I had made and which Xenia had acquired of me. Also, Sandy would surely get the point being put across to him… I am very proud of this print and would love to submit it as a scan of a colour print to Sandy.
Why is it suitable to Milly? Again, we witness a single person subject to their own quiet thinking, here, trapped in a somewhat aquatic box and a possible recipient of Milly’s rendition in her own, or her parent’s home. At the same time, Milly herself could be driven by such bizarre Lynchesque vision hesrself. What speaks against it is of course my very own bias and will to make it fit.
But still, there is a fit. And what is more, I would like to ship an image to Sandy that he is not familiar with.
5/10
»Recital«
Bohème Sauvage, Berlin, 2025
This being the first Medium Format image that I would submit, its composition is almost a carbon copy of Milly’s. Since the Sax player is seen from behind but with plenty of stage lighting visible to the viewer it is more than obvious that this person is performing. However, we do not see what it is he does — he could be reading, having a break or play the Xylophone. Since Sandy doesn’t know about Milly’s image, this could lead to all manner of associations and while it’s a somewhat nice potential print candidate as well, it is finally a guy, not a lady in focus. I could imagine emirroring the image as well to perfectly juxtapose. At the same time, the two images side by side are very similar — if Sandy chooses to interpret something different than a musical recital (which he likely will not) then all three images side by side will narrate a possibly entertaining curve…s
8/10
[Lightning] R05A: Tim
2025/10/18, 8am
[Lightning] R05B: Sandy [undisclosed]
2025/10/20, 4pm
[Lightning] R05C: Stanley
2025/10/22, midnight
Instant Thoughts
We sure enough have entered the colour domain, at least on two fronts.
This image delivers tons. While I still wonder where it was taken — I am inclined to believe it was the Alps but easily could have been Brasil. I am mostly fascinated by the absence of human beings for whom the main protagonist of this shot had been draped. The crooked stool lends additional flavour to the seasoning, as does the near golden hour, curiously populating the mostly shaded and seemingly vacant areas with value. Like a smoking fire that had been put out very recently, the presence of fresh flowers in a pristine transparent bottle — closer to the chair, not placed in the center of the table — lets us know that human beings have been around very recently, or, a single person may indulge in contemplation soon enough, should this be an early morning mood. Visitor pending.
Submission Candidates
Candidate Selection
I have selected four main images from the stack I had initially compiled in free association.
»Catharsis«
ଭୁବନେଶ୍ୱର Bubaneshwar, 2020
Had it not been for very personal reasons, this image would perhaps lose a single point in its rating. It was taken over 15 years ago on my first and then only run of analog photography while travelling through South East India. Set at a reservoir in the city of Bubaneshar/Orissa, south of West Bengal and close to the ocean we witness a scene which offers an absent protagonist as well. At the same time, the colour of the water strongly resembles that of the grass and likewise populates a similar portion of the image, albeit, representing an entirely differnt subject matter. Moreover, the scene is curious since no ever so slight waves are to be seen in the water, lending yet another contemplative vibe to the image. It does in fact feature grass as well. Another fascinating shadow creeps across the bank onto the water surface, narrating mysterious conditions and circumstances.
Points dropped because: no obvious flower association, composition not entirely matching.
8/10
»Frozen Lunch«
Burnt Psychiatry, Potsdam, 2024
If were we playing Dixit, this image would tick all the obvious boxes and therefore risks a round of zero points. The parallels are more obvious than should be allowed and likewise yield the potential of recursive looping. With the left behind round table, albeit in a derelict setting and the flower pot, it serves as a parallel rendition of what we see in Stan’s submission. The table is unsorted, dirty items scattered, knocked over teapots, newspaper and the wall is stained, no natural light and reminds me of Pripyat post-1986. The significance of this setting is that the shot was taken a week after a psychiatric ward had been set on fire and burnt down by a delinquent patient. The scene before us captures the exact moment the fire broke out, leaving patients no other option but to leave, instantly. Still subject to police investigation the scene was not to be touched, the entire ward covered up and infused with heavy duty smoke residue one could not enter without FFP3-masks. The chances for this such image to again feature in the game are next to zero, if not submitted in this very round.
9/10
»Nobody Believes Me, But I Am A Robot«
Rechenzentrum Stairway, Potsdam, 2023
A scene without humans, again, and, again, a tablesque setup hosting a flower pot with an almost dead growth beneath a lurid artifical light source, all set in a corridor for makeshift storage. Antonymous to the garden scene and flowers serving the function of adding value to a single person’s experience we witness a forgotten and left behind plant close to giving up on its purpose. Another setup highlighting the beauty and value of the shot I was given.
7/10
»No Obvious Solution«
Hackney, London, 2024
Despite being a black-and-white image, it sits best with me when inspected next to Stanley’s shot. It delivers motion from itself to the previous image, illustrating surrealist ratios of size due to the central, massive flower pot with what seems like a massive cigarette bud heartlessly chucked into it. The well-dressed dude seems to be in need of something he cannot yet see or understand — whether he is on the phone, like most people in London’s public these days, is anything but clear, he could as well be soaked in deep thoughts. If it were a colour shot, however, it probably would not even ship with that many shades of colour at all: Grey concrete, black trousers, white shirt, black shoes, dark earth, a rusty pot would give away what we otherwise wouldn’t consider: An oversized urban approximation of what we all love to have near and around us: flora.
9/10
More Overthinking
Sandy suggested to throw a dice.
I did. Simply because all of them seem so intriguingly fitting it’s not even funny.
Numbers 1-4 match the order above. Numbers 5 or 6 mean a re-roll.
I rolled a ‚4‘, representing the Tchernobyl table. Submitting something as obvious and pseudo-identical as this seems like not enough twist, especially since the background story is not apparent to the recipient. Roll again…
Rolling a ‚1‘ did make me happy, as if I always wanted the shot from India to make it into the rounds… if that were the mere objective, then surely I can find another that matches elsewhere — after all, we are only half way through. But no, there is more to it, even the sun rays I hadn’t mentioned and the scenes are pretty much alike despite in totally different locations and featuring entirely distinct requisites. This seems a good call. But, roll again…
Here we go: 3. Dry plant. It is such a visceral selection which makes sense totally — but, like the other BW-shot, both the guys have seen prints of this one already and I would like to submit an image I have previously not ever talked about. The pseudo ‚sun‘ in the image augments the sun rays in the garden quite nicely, almost perefctly and the two plants exemplify the different privileges we get ourselves born into. A great match this is.
I threw the dice a couple of more times. It went though plenty of fives, sixes, came back to ‚1‘ more than once and had ‚4‘ feature again. ‚3‘ did not show up and ‚2‘ never came. Once I noticed that and said it out loud, the dice threw ‚2‘.
I wish I could sleep on this one again. But I cannot. And it would not change anything.
The next dice roll will decide.
GO!
: 5.
GO!!
: 6.
GO!!!
: 2!
NOOOOO!
after another long while of revisiting and reconsidering I chose to go with the obvious choice, for once: The Frozen Lunch.
R06A: Tim
2025/10/29
R06B: Sandy [undisclosed]
2025/11/05
Latest & Upcoming Submission
R06C: Stanley
2025/11/12
Instant Thoughts
Os filhos.
I cannot help but consider those Brasileiros exactly those »Filhos« that should perhaps be running the »Cabana« business of their »Mãe«, as it were, instead of indulging in Antarctica beer close to the noon hour. Not that any bottle nor styrofoam were visible. What impresses me about this shot is the colour composition and its effects. The green poles in conjunction with the rusty makeshift roof invert nature’s laws of barky trunk and chlorophyl leaf. The picture speaks scarcity, human companionship, conspiracy, leisure, casualty, siesta, vacant time, albeit, mutually spent.
Among all the shots I received from Stan this one is farthest away from any of my photographic methodolgy or preferred moments to capture myself. That being said, I might have captured this very one, had I been the one having witnessed it. Therefore little comes to mind as to what could suit this image and further develop the narrative.
I combed through my archive from India back in 2010, thoroughly, even scanned around ten negatives to choose from.
I galopped through my entire films shot in Japan in 2024, skipping no exposure.
The only image that came to mind instantly was a shot taken in a profoundly shady Berlin pub in Friedrichshain at the beginning of this year: I was sat with my friend Hans during the late early hours opposite a man who had obviously ordered a Coke to occupy a potential sleeping spot and did just that while the drink emitted its carbon dioxide along with him. It was clearly a necessity for him to catch some sleep and every now and again he would raise his head in disbelief and sheer discomfort. His loneliness in this colour image countersketches the brotherly connection between the three fellas in Brasil.
My candidates range from three women playing a traditional game at the river bank in Hampi, one mother incontemplation, too in Hampi, perhaps awaiting her child to appear, Japanese film makers at a prestigious Sushi bar in Tōkyō after the door closed to the public, green bamboo trunks resembling the Brasilian poles at a tea house in Kamakura, three steaming vessels emitting just hot air at a dumpling stand in Nakano, three empty chairs with signs of forbidden chairs in Nara, faithfully and neatly seated Japanese folk at a random railway station, illustrating a quite distinct attitude, a pietous and overly well behaved old man contemplating his next swift moves on the Tōsenkyō game in Okayama, representing the abstemious solitude a Japanese man may have to want to choose, three identical tech adepts in a rooftop café in Shinjuku, three cats in sheer curiosity, and last but not least: the man dying himself to sleep.
Submission Candidates
Candidate Selection
The selection is much harder than previous ones and while the cloud of candidates make up a match in total, none of them seriously seem to tick the boxes yet. Hence I will consider them all except two, one by one:
»Killing Flies«
ಹಾಮ್ಪೀ Hampi, 2010
Three women in Souther India passing time by playing what seems to be a game of ಚೌಕಾಬಾರ Chowka Bhara.
7/10
»A Mãe«
ಹಾಮ್ಪೀ Hampi, 2010
A single woman, very presumably a mother — and if not: One that may have wished for children, at least one, again presumably at least one son — sat on one of her favourite waiting spots while a younger woman comes into view at the far end of the scene.
7/10
»After Hour«
谷中 Yanaka, 2024
Filmmakers at a Sushi Maestro’s hut in Yanaka/Tōkyō, indulging in fine Japanese spirit after the doors closed to the public.
7/10
»Tea Ceremony«
鎌倉 Kamakura, 2024
A couple in a tea house in Kamakura, South of Tōkyō near the cost and the Fuji-San. Captured through a dense bamboo forestation.
The original picture was a 4×3 image captured on an SLR for 135 film, yet, in its entirety it never fully convinced me for aesthetic reasons. After a long while and many people having chosen this very shot as their favourite it dawned on me that I could crop it to square. Now it makes sense.
9/10
»Heiße Luft«
中野 Nakano, 2024
Three differently sized Dumpling-Heaters emitting plenty of hot steam, obfuscating any kind of intelligible purpose,
6/10
»Nothing to sit here«
奈良 Nara, 2024
Three empty chairs, with symbols indicating that chairs are forbidden.
6/10
»Keep at a cool distance«
宝殿 Hōden, 2024
Well behaved Japanese folk awaiting the train, likely on time, all in neat arrangement.
5/10
»Orderly Fashion«
岡山 Okayama, 2024
A pietous old man, sitting up straight and awaiting his next opponent in the 投扇興 Tōsenkyō game, where a traditional fan is chucked in a dedicated and elaborate way towards a small cushioned item with bells placed on a small pole.
7/10
»More of the same«
新宿 Shinjuku, 2024
Three identically dressed guys in identical pose with identical bodily extensions (headphones), in no conversation and with no idea what is happing outside, or around them.
7/10
considered before for R03A
»Sensory deprivation«
Berlin Winter, 2025
An older guy having ordered a soft drink with no intention of consuming it, but merely taking advantage of the table top as his most welcome cushion for the night.
8/10
»Nekonauts«
尾道 Onomichi, Japan, 2024
尾道 Onomichi is the »city of the cats« — this very shot was taken on a Kiki Pan 320 accordingly.
The link to the submission is blatantly obvious, though aesthetically, this shot does not meet all quality expectations.
7/10
»Decaf«
Güterbahnhof Bremen, 2024
Anything can be over any time, if someone or something more powerful than you either reckons so, is bored or considers themselves the big shot — which they may be after all.
Not to mention the framework.
After a long und multi-layered consideration incolving a total of 10 opinions by further members of the human family I have come to the conclusion that I was eyeing all along. Some images were too obvious in their continuation of the narrative or yielded little scope for controversy despite being highly compatible matches. After all, this game is about killing darlings and the only survivor is: Sensory Deprivation. It has scored 4 out of 10 votes which is the highest number — I won’t call it a democratic process since it involved no discussion between the participants, but sure enough the majority decided, which is something else.
Thank you to all participants in this round.
R07A: Tim
R07B: Sandy [undisclosed]
due Wednesday, Nov 26th, 23:59
R07C: Stanley
due Wednesday, Dec 3rd, 23:59
Summary
This is the summary of all submitted images so far (which either I received or submitted… Sandy’s are yet a mystery to me):
Image Timeline so far
See what Stan’s latest submision to me was here.
See all candidates as enlargeable images here.
See the final selection in comparison to previous image here to decide which one you would have chosen.
The latest submission and upcoming dates are to be found here.