Jane Perryman-photo Stephen Brayne
The use of a reduction chamber at the end of the raku firing was introduced by the American potter Paul Soldner in the 1960s, in order to compensate for the difference in atmosphere between wood-fired Japanese raku kilns and gas-fired American kilns. Typically, pieces removed from the hot kiln are placed in masses of combustible material (e.g., straw, sawdust, or newspaper) in order to provide a reducing atmosphere for the glaze, and to stain the exposed clay surface with carbon.
