Hulk

I have had a Christmas cactus in a south window in my shop for years.   I love it,  you can forget to water it for a month and it comes back to life when you do.  It has double blooms that appear in December.             Denice

I like the white light cubes as you can add for outside light
I have a few sizes with color balanced bulbs that set up outside cube
If you get a black outside cube  its to hard to light the top and sides
I also suggest some color balanced lights in small tripods as well with these units
I use the larger one more than a small one.-all with white backdrops
 
like this one
https://smile.amazon.com/Bestshoot-Shooting-Diffusion-Backdrops-Photography/dp/B01GE79L98/ref=sr_1_5?crid=15AJ3ICO3Q2I0&keywords=white+light+cube+photography&qid=1647978186&sprefix=white+light+cube+photography%2Caps%2C113&sr=8-5

The ones you listed are all 16 cubic inches, which I think would be pretty small unless you make almost all small work. You may want to go for a bigger size so you wouldn't have to buy another later if you make bigger work.
I made something for myself out of PVC pipes and a thin polyester fabric shower curtain. It's about 3 feet wide and 2.5 feet tall. It sits on a table. I have 2 lights on tripods on each side, and one light that I can hold in front, above or put on a tripod too. The thing I spent money on was a Flotone sheet. There are lots of ways to make a light setup yourself if you're interested.
I think with ceramics, being able to adjust the angle of the light hitting your piece is important. You can move the light around to eliminate hot spots and get better shadows and such. I was glad to take a photographing ceramics class, which helped me to be able to see those things I wouldn't have noticed or known how to deal with before. Diffusing light is important for shiny glazes. I don't have any info on using a premade lightbox, but I think you might want to also have some other light source that can be moved around in addition to the one mounted in the box. 

Far right, an orchid; it has responded well to relocation to this window, and repotting - now in its third pot.
It's been setting two or three new leaves each year, and a flower spike as well.
The other three are from cuttings; I'm about to take cuttings and start anew.
...aha! Finally, the name popped up from "memory"...
Coleus - Wikipedia
Was down to one scrawny sickly plant last year - eighth generation cutting from a plant the boss had brought into the office, well, one of three. I "saved" the third one, got it growing, then started propagating. I gave away over fifty plants, back (way back!) when I was still working, and another dozen or so since.
They drop leaves and flowers - rather messy.

I was able to get my upper mount off without any damage.  I pulled both bearings but had to get creative with the puller to reach the upper bearing.  From there I was able to find the NACHI bearings from a local supply store.  I have the bearings on and wheel back together.  Thanks for all the info and advice. 
I had previously done some repair work to the splash guard using a fiberglass repair kit.  I put pieces of 1/2" PVC about 10-12" under the lip on each side up to where it starts to curve.  This lets me have some good strength to the "lip" of the splash guard.  I do need to paint it and could post some pictures.  I do not have a book or manual for this wheel but is there also some sort or rear splash guard?  It seems like there should be a rear tray/guard...  I just have this one piece and when throwing something water and slurry are thrown out the rear.  It's OK out on the patio as I have it facing the yard but would like something if I move it indoors.  
Thanks all!

absolutely!  the fun of getting into someone's studio or gallery is seeing how things are set up for the kind of work done there.   i remember being in a studio in bethesda, md that was as big as a small classroom and held 3 rows of long tables.   that potter made huge tile installations and was working on something brand new (at the time).  she was portraying DNA which was her husband's field of expertise.  the finished work was placed on a wall in a public space near DC.  can't remember where but it was an entire wall with garden space in front of it.  beautiful!
i was fortunate enough to buy a small, square bottle that had peony leaves pressed into the sides.
there are 2 places near me in florida that i want to visit.  they are new since i was here last,   that was may of 2020.  

Hi folks, 
A few days after @Hulk posted last weeks QotW, he posed another. This question is one that seems especially relevant this year with the Covid thing becoming more of a dead issue (hopefully) and Spring coming on! Hulk stated:
Any plans to visit galleries and/or others' Studios?
...workshops, classes?  It's been a while for me; in the last two+ years, I've seen maybe ten displays of others' work, in person, and had an in-person pottery talk with maybe two or three actual potters.  The post on upcoming SH workshop got me thinking*! I'm planning to make time to look in on local shops, galleries, studios, and swing by the local JC Ceramic lab as well.
I am planning on reaching out to a few galleries, after vetting them to possibly handle some larger mixed pieces, I also hope to visit some out of state and out of country galleries this Summer. I believe I may also be giving a weekend workshop in a neighboring state. I think it is always great to get out and see potters, talk shop and get refreshed and excited about the Summer ahead. I have been helping with a Saturday adult thing in the HS I taught in for the last few weeks, and am doing some slab thrown constructions in that studio, great to get into doing more after the cold of frozen shop in January and Feb.
QotW: Any plans to visit galleries and/or others' Studios?
A special thanks goes out to Hulk for contributing to the community. . .makes my job easier!
best,
Pres

It's a new day, hope the boredom has evaporated like the mist over the Pacific just did...
I'll have to remember to get some "view from" pics; here's what I found perusing my archives.
The large window provides lots of light (during the day :| ), and views of the sky, neighbor's tree, a bit of valley vista, and direct line of sight to a neighbor's giant window, hence the plants on the shelf there. That's bisque on the counter, liner glazed, waxed - about ten days ago. Next was cutting the edge and wiping the excess away, then allow to dry afore outside glazing - mostly inverted dip, some inverted pour over...
The rollup door also provides lots of light (even at night, as there's a streetlight across the street ,) ), air, and view of the sky, street, a bit of hill and valley vista, and the neighbors' houses. The across the street neighbor (she is a treasure!) has a fish bowl (all glass), so I typically roll the door down a bit. There we're all set for last Fall's "Open Studio" event - the Studio (also bike shop/workshop/repair shop...) had never ever looked this good!
 

you make a LOT of pots, Tom!

It's a new day, hope the boredom has evaporated like the mist over the Pacific just did...
I'll have to remember to get some "view from" pics; here's what I found perusing my archives.
The large window provides lots of light (during the day :| ), and views of the sky, neighbor's tree, a bit of valley vista, and direct line of sight to a neighbor's giant window, hence the plants on the shelf there. That's bisque on the counter, liner glazed, waxed - about ten days ago. Next was cutting the edge and wiping the excess away, then allow to dry afore outside glazing - mostly inverted dip, some inverted pour over...
The rollup door also provides lots of light (even at night, as there's a streetlight across the street ,) ), air, and view of the sky, street, a bit of hill and valley vista, and the neighbors' houses. The across the street neighbor (she is a treasure!) has a fish bowl (all glass), so I typically roll the door down a bit. There we're all set for last Fall's "Open Studio" event - the Studio (also bike shop/workshop/repair shop...) had never ever looked this good!
 

A dear friend gave that to me when I was in a deep dispirited downturn, and it rather magically actually made a tangible difference in my outlook.

Some more images.. not sure if they're helpful!
 
 

No never on its side-big no no. Treat it like its super fragile as it is. The bricks get injured easily -cafefull handling it near the elements groves as they break out easy as the bricks are thin there.
Put it on foam sheet or some padded moving blankets and tie it into a trck bed-keep it stable -you can take the lid off and treat it very carefully  with padding.Tie it down 
take the base off and the lid. DO NOT Carry it on its side or travel on side-back seat is better

I have a high tech delta air handler with small micron filters , but only use it when making glaze. I do have a small squirrel  cage that I use every few years if I forget to heat the shop before going to in winter .It blows heat down in throwing room from ceiling. The gas heater has no fan . The shop has two roofs and is insulated so it cool in summer and with a gas heater warm in winter. If I need to let heat in or out the shop has two door and we leave them open when needed -like loading kilns. I like the open door as it into a kiln covered area so spring and fall its open.
In the winter with heater on and off the layers vary in shop as to the drying levels and needs. I use the heater for the cycle of pots more than my own comfort.When I need them dry its 90 inside and we work in that when its no rush its 70 T short weather is my favorite temp for winter shop-summewr as cool as I can get it. If iot gets any hotter here near the coast I will install a small Mr cool like the two in house already.(they heat and cool)
Closed at night. In warm summers doors are closed to keep it cool. No fan.

I don't have a fan, in the shop, only an electric heater that has a blower. This takes care of keeping the shop warm when I am working in there, but I shut it off unless expecting a hard freeze. All in all, the garage is tough to clean completely as there is much storage in upper shelving and lots of tools not ceramics related. Cleaning floors, wheel, and other tools is the extent of my cleaning, and I do try to keep up on that.
 
best,
Pres

A few years back I installed a bathroom vent fan in the wall. It moves a few hundred cubic feet of air per hour and its on when Im doing anything in the studio. It keeps the air fairly clean and I figure its better than nuthin.

My home has forced air heating, so my studio has a heating vent in the ceiling. Because my studio is pretty close to the furnace that blows air through the whole house, I have to keep things pretty clean. As much as everyone seems to hate mopping, it’s gotta happen on the regular. 

i keep my studios pretty clean and i love fresh air.  windows are usually open if the temp is warm enough.  ac is on in the hot summer if i am working.  yes, i use fans, one in the window in the door in florida blows past me and since the space is not large and it is only a 10 inch fan, the air movement is gentle.  i avoid making dust and move anything that produces much of it outside where i work away from any openings into the studios.
i figure it takes 30 years to get sick from silicosis and at 81, i do not care if i get it at age 111.

No fans.  I bought a eheat Envi wall heater for my space last year.  I have been so happy with it.  Puts out a nice even heat with no fans.  Our winter has been pretty cold this year.  Glad to have the heater.    Since my work space is in the basement, even with 100 degree plus weather, it stays relatively cool. So I don't need a fan in the summer.  I do have a pet spot cleaner that I use for windowsills and corners and places I cannot easily mop.  It sucks up the dust nicely. 

I have a small fan in front of my heating/air conditioning vents,  they  tucked beneath a countertop and need some help .   I put a fan in the kiln room window to exhaust some of the heat out side when I fire .   I don't even open the windows in the summer,  I live in Kansas more dust  outside than inside my studio.  I clean the area I am working in but I don't tackle every area of the studio.    Denice

Hi Folks. . . Wow!!! Someone has posted two possible questions in the QotW pool!! 
@Hulkasked:
QoTW:  How much air movement do you have in your studio, do you use fans, is cleaning to reduce blown dust part of your process?
Hulk actually goes on to describe much of his process here: 
The winds here typically ramp up over the course of the day, peaking late afternoon 15-25 mph from the Northwest* in the dry season, somewhat less in the wet season. There are variations, particularly the hot/dry winds from the east/southeast, and wet/rainy from the south/southwest.
With the doors closed, the air in my Studio is rather static.
Any road, when a breeze whips through the Studio, it will pick up dust! Hence, I'll pop on the P100 afore opening the doors, if it's breezy out, run the mop and sponge, then hang the P100 back up on its hook once it's aired out a bit.
I don't use fans in the Studio.
Cleaning up - so that what is on the floor, working surfaces, storage surfaces, etc. doesn't get blown about - it is part of my process.
*capitalized on account o' the NW wind is the boss here on the Central Coast!
My thanks to Hulk for making this weeks job easier as I am in the midst of taxes!
 
best,
Pres
 

Great information , thank you
 

Kinda like the "What's on your kitchen table". What's it look like out your studio window?  Here's mine, fresh snow coming down.

Yes what size are the orfices now? natural gas has larger orfices -LPG should have considerable smaller orfice  holes.
I get that its been convered but all 4 burners in one spot is a bit strange-We need to see the inside with door open as well.
You never mentioned anything about a damper-does it have one on top (I'm assuming its a updraft?)
The only downside with the hood so close is it will rust out sooner if it gets super hot and you could always have a stainless one made  like i did as they never rust-make sure to  cover your chimney cap when not in use for rain.
In terms of to small  a hood that whole shed is just for this small kiln and your shed has a wall of windows  on one side and one opens so ventaliation is looking great to me as long as you do not sit in there all closed up firing
So the issues can be
orfice size
burners to small-burner placement (all in one spot)
The stacking load of wares and bag walls
draft -layout inside to let gas flow thru load
damper issue-size of exit flue
explain in detail these issues  as best you can to help us
Photos inside are a must

This will take some doing as 24kw should be enough to power this kiln reasonably insulated. It would be helpful to know the previous orifices, the current orifices before we start calculating to figure out what the issue could be. Interesting note is propane has a little more than twice the output of natural gas so your current orifices ought to be much smaller given they are designed for propane and also designed for a higher pressure.
Some observations: if this is going to be for reduction then the hood likely needs to be a bit higher so the reduction flames don’t contact the hood. I would like to see the hood wider as well to pick up the heat and additional fumes off the kiln. I would add a weather cap to the top of your stack as well for practical reasons. Finally, the height of the stack and diameter can help this kiln with proper airflow. So in the end after all the calculation (when we know the orifices) we may recommend several minor changes so the kiln breathes correctly,  the actions of your damper are more manageable and we know we can maintain a 10:1 air / fuel ratio to get the most energy from your burners.
All this may take time to learn, so if rushed or commissioned you may want to fire in a kiln you are familiar until you dial in your own kiln.
Pictures of the inside, any other secondary air ports if on the side or bottom of the kiln and a picture of the overcut around the burners which is your secondary air port.