The most important of course is the torch: I work with a minor bench burner made by Nortel in the USA. And as that is a propane-oxygen-torch you can see my red propane tank beneath the table and to the right there is the oxygen-concentrator.

Above the workplace is the ventilation (it's almost a bit too high up there...). As we only rented our appartement of course we can't just drill a hole in the wall for the ventilation so my husband made a ingenious little adapter which is mounted to the wall next to the window. With the window half tilted all the bad fumes are blown out. And in addition I've got another window completely open with a ventilator in it so I (and my concentrator) will have enough fresh air to breathe.

At first I wanted to get some order into this mess on my workbench for the photo but then I thought why not show it as it usually looks like: creative chaos ;-) ... Many glass rods, of course the glasses for protection, mandrels in a "flower-decorating-foam-block", and in between some tools, like the CBS for shaping lentils. But my absolute favorite tool is this one:

An old milk-can-opener. I use it for all beads with trapped in airbubbles.

To the left of my table there is part of my glass storage always at hand so I can choose many colors.

And on the right hand side you can see my kiln:

It's an AIM kiln with digital controller that was custom made in the USA for the German power supply system as we don't have a bead kiln manufaturer here in Germany. As soon as the beads are finished they are put into the kiln to be slowly cooled down to release stress in the glass. But for small beads when testing colors or patterns I use the bucket with vermikulite that you can see in the first picture. The jars in front of the kiln are frits from Valorie Cox that I like to experiment with (mostly blues but also some purple and pink)

After finishing the beads of course they need to be photographed. The digital camera I use is a Olympus C-300 Zoom. With this one I can only get up to 30 cm close to the beads but with macro zoom and tripod that usually is close enough. Where I take the pics varies and also depends on the glass colors used. I realised that all yellows and oranges will look best outside on a shady day. For other beads I sometimes use a lightbox. It is a small box with two daylight bulbs:

Or I use a very simple solution that I saw in Cindy Jenkins book "Beads of glass":

Just a slightly shining-through plastic box with a lamp on top and one on either side (I use halogen-bulbs).

This is the pendant from the photo to the left, so you can see the result: