After the unpack, grinding, polishing and cleaning from the last firing, and the pinging noises of crackling glazes has subsided, I start to photograph the pots. My nervous adrenaline has dissipated and I am able to really spend some time with each surviving successful pot, out in the daylight, and start to get to know it. 
To my huge relief it was a fantastic firing and I have many beautiful pots with runs, drips, heavy or scattered crystallisation and flame blushes.
This pot was glazed with rocks that I collected during my February visit to Cumbria. It was fired on its side at the front of the firebox stack and was buried in embers for much of the last 24 hours.
This next pot was from the second chamber stack. It’s made from a body based on kaolin that is derived from Dartmoor granite, with added milled quartz (from the granite) and the parent rock itself. The pale glaze is based on an intrusion within the same granite. It was fired on its side on shells from Devon. I’m loving the drips on this one, including the one just hanging from the rim.
As wel
l as my place specific rock glazed pots I also fired a lot of functional pots made from a couple of bodies that I have been testing: a ‘dirty’ porcelain that flashes very well, and a dark body that turns black with ash deposits. The black body pots that survived are rather lovely but many dunted or gave a very rough, almost flaky surface with the ash. The porcelain, however, came out beautifully. These faceted cups will be going with me to Earth and Fire in June.