The shot above is of my last firing right as I had just opened the kiln. Most of the time, pottery is fired twice. The first firing is referred to as the 'bisque' and it is basically to drive out every bit of moisture from the clay and certain chemicals and contaminants also. The molecular structure of the clay is actually altered and it cannot be broken back down into workable clay anymore. Bisqueware looks like the flower pots you buy from the store and it is still porous, just like those pots.
In the above photo I took a close up of the interior and of the cones I use to control the kiln. One small cone goes in a mechanical sitter so that when the desired temperature is reached that cone melts and allows and cut-off switch to drop, thus shutting the kiln off. Well, occasionally this doesn't work right; those sitters do sometimes malfunction so I always use a visual cone, or a witness cone as some call them. This is the large one you see sitting up by the plates. It normally sits in front of a peephole and I can physically look inside the kiln and see when it starts to drop. When I was in college we fired totally by sight in large gas kilns and so I am only comfortable doing it this way. Plus, it allows you to manipulate your firing if you want. Some glazes do better fired to a 'softer' cone 6 or whatever. You can tell by looking at how far the cone has bent as to the approximate temperature.
You can also see the plates are stacked in those neat plate setters. I love those things. Plates take up a lot of room in a kiln but those let you stack them vertically and they work great. By the way, the shelves and setters are made of a very dense clay-type material that will withstand temperatures much hotter than the pottery. They can warp though if you over fire. I found that out firsthand.
Now, amongst the clay elitists, cone 6 oxidation is basically sneered at. It doesn't have the 'mystique' and all of wood or gas reduction firing. In fact, when I was in college, we were not even taught how to glaze fire in an electric kiln. It was the unspoken, and sometimes spoken, idea that mid-range ceramics were inferior. That you could not get the range of proper expression with electric oxidation. However, I believe that a good artist can make good art out of whatever materials and techniques they happen to have available. Not everyone has the means or place for a large wood or gas kiln. But you know, those arrogant and narrow-minded views are often expressed by people that have the luxury of not actually having to make a living solely from their art. There is a tremendous amount of pretentious attitudes in the professional ceramic world that really makes me want to barf. I used to kind of hold those views myself way back when, because that is what I was taught, but after having been out in the real world and having to make a real living I see now that you do with what you have. Yes, I would like to have a wood-burning kiln. The surface expression you can achieve with them is amazing. And not all people who high-fire look down on us mid-rangers! lol! But for now, I will use what I have available and I will always have respect for my ol' L&L.