It’s difficult to accept that it has just been over a long time since our “NorCal Gang” took conveyance of six special chronographs from autonomous watchmaking legend Kari Voutilainen following a three-year incubation measure that I portrayed in Commissioning A Watch: My Journey With The Kari Voutilainen Masterpiece Chronograph II .
In that article, I guaranteed a more top to bottom Behind the Lens treatment of my watch sooner or later, however I was likewise confident of having the option to compare and balance my piece with at least one of different watches in Voutilainen’s ten-piece Masterpiece Chronograph II series.
Recently, a liberal companion offered me the chance to shoot his white gold Chronograph II, and now I’m ready to impart the two his and mine to you here.
Starting with a (moderately) clear slate
I’m actually captivated with the variety of solicitations made by individuals from our gathering whenever offered the opportunity to recommend some custom contacts for a plan idea we had considered distinctly to be a clear dial in a case.
While I quickly inclined toward the possibility of a pink gold case with dim dial, the last count among our gathering was two platinum watches (one each with strong blue and dark dial), one other pink gold with a lighter dial tone than mine, a steel-cased variant for the “gram nerd” in the gathering, and a solitary white gold piece with an unpretentious two-tone silver dial that you find in the photograph underneath close to mine.
More the same than different?
If you look carefully, you’ll see numerous similitudes (notwithstanding the hard purposes of case plan and dial positions dependent on the development design) that cross the whole arrangement of watches:
- “Unflipped” Arabic numerals showing the running seconds, chronograph seconds, and chronograph minutes alongside vertically positioned numerals for 3, 6, 9, and 12 on the principle time subdial
- A text style for the chronograph seconds sign taken from Voutilanen’s originally restricted arrangement of Masterpiece Chronographs, with a more slender text style used on the printed subdials
- On the chronograph minutes subdial, the shortfall of dabs at 10, 20, and 30, with the excess spots put between the numerals instead of above them as they are on the running seconds subdial at 11 o’clock
- Dots on the part ring for each time period chronograph seconds, prompting the utilization of a “jaw” at 6 o’clock that helps us to remember, yet is maybe subtler than, the one that showed up in this way on the Patek Philippe Reference 5270
- Multi-level subdials with conspicuous sections, with the primary time subdial and chronograph minutes participated in a figure 8
- Clous de Paris guilloche on the focal areas of the subdials and round brushing on the external rings of the subdials just as on the principle part ring of the dial
- Backgrounds for the date wheels that coordinate the shade of the dial
- A profound break with a shading coordinated bezel that contains a moon stage sign with cleaned blue “sky” and iced silver “moon”
The qualifications begin
As we went into the exchange with Voutilainen, my companion’s needs were quite clear: he needed a watch that he could wear regularly in both business and more easygoing settings. What’s more, however much as could reasonably be expected he needed to imitate the dial plan of Voutilainen’s first arrangement of ten Masterpiece Chronographs.
The unpretentious two-tone silver dial with a marginally more obscure matte completion on the principle dial surface is a fitting accolade for the Masterpiece I, and my companion’s watch additionally consolidates the primary arrangement’s little red printed triangles at the five-minute characteristics of the time subdial and the silver and blue shading plans of the time and chronograph hands, respectively.
There are a couple of unobtrusive contrasts from the primary arrangement, notwithstanding, including the non-flipped versus flipped printed numerals, exclusion of the numerals finishing in “5” on the seconds subdial, and replacement of specks for the railroad track of the first arrangement’s chronograph minutes dial – just as the previously mentioned chin.
The coming about look is to my eye amicable and clean, with the unpretentious apparent varieties giving the dial an open look and the quieted range permitting the watch to look free from the wearer’s sleeve without pulling in unjustifiable consideration, in spite of that huge sapphire cabochon on the date corrector on the crown!
By comparison, my watch is extensively more sensational: I needed a piece that highlighted solid differentiations and I’ve since a long time ago had an inclination toward hued metals in my assortment as an issue of individual taste.
As you can find in the photograph above, I went unequivocally with a pink gold subject, including the execution of the time-demonstrating hands and applied hour and moment markers in that metal.
Those minimal pink gold triangles caused a great deal of trouble!
I truly needed applied markers and simultaneously preferred a three-sided shape. Voutilainen demanded guaranteeing the security of the markers over the long run by outfitting every marker with two minuscule feet to guarantee that they would not turn. This thus set a base size for the triangles, and it wasn’t until I saw the completed watch that I was completely content with the overall sizes of the triangles and applied numerals.
Other individuals from our gathering selected an assortment of arrangements inside the bounds of the lower bit of the dial, including printed numerals and markers instead of applied ones, more modest round applied gold specks that necessary just one mounting post, the expansion of minuscule spots for the individual minutes on the time subdial, and even the oversight of Voutilainen’s mark “Hand Made” inscription.
The dial of my watch wound up with a look that is somewhere close to dressy and energetic because of the way that the light discovers the roundabout brushing on the different rings and a surface on the primary basic dial surface that is fairly on the intelligent side of matte.
The chronograph turns in silver instead of blue add somewhat more pop, and keeping in mind that there are days on which I wish we’d wound up with a milder by and large look there are a lot more on which I’m truly satisfied with the last result.
Even the little casing around the moon sign, which Voutilainen added to our watches to what exactly once in the past was a more open gap with inclined sides, is especially as I would prefer and a genuine illustration of the effect that little changes can show up of a watch.
What about the back?
The custom addresses these watches stretch out to the development side as well.
My buddy’s watch is devoted to the completing theme of the main arrangement Masterpiece Chronographs, with iced and spotted plates and extensions in gold diverging from the brushed and cleaned steel switches, connect covers, and equilibrium cock.
In the detail see beneath, I’m struck by how wonderfully the cleaned and inclined plate and scaffold edges make changes into Voutilainen’s amazing iced finish; and obviously, the sharp pinnacles, fresh inside points, adjusted “tourbillon style” balance chicken, and dark cleaned completes are simply mind-blowing.
And while you’re grinding away, require a couple of moments to look at the hitting blue hairspring with its hand-created Breguet and Grossmann curves.
With the pink gold of my case I needed an alternate look, and subsequently my watch is the just one in the arrangement with rhodium-plated plates and extensions. While in my companion’s watch the differentiation is between gold plates and steel components, in my watch the generally silver-shaded development is balanced by the gold-conditioned haggles with the hued case.
While I like the manner in which my watch looks, I need to say that I truly love the hotter look of my companion’s piece!
That said, almost certainly, a gold-hued development in the pink gold case may be all in all too a very remarkable beneficial thing, so there’s no danger of me asking Voutilainen for a do-over.
One remarkable part of my watch about which I have positively no reservations is the official back, engraved by Eddy Jaquet with a theme portraying Chronos, the Greek lord of time.
I can’t envision how Jaquet might have made a superior showing on this, and each time I wear the watch, I’m thankful to Voutilainen for figuring out how to consolidate a pivoted back on a case that was not initially proposed to have one.
Shooting the Voutilainen Masterpiece Chronograph II
As is my propensity nowadays, I shot the pictures in this article with the Hasselblad X1D. The shots of my buddy’s watch were executed as single openings with the Nikon 85mm PC-E slant/move focal point, and I captured my watch with the Hasselblad XCD120 large scale focal point using multi-picture stacking.
While stacking takes into consideration more variety in position and point of view, and the Hasselblad 120 full scale is brilliantly spotless and sharp, I’m as yet an aficionado of the shadow delivering and “live” look that solitary picture photography permits. I’ll keep on rehearsing with both, and in future Behind the Lens articles will keep on sharing what I’m learning.
As for the actual watches, they are a joy to shoot, with various camera and lighting points uncovering various parts of shading and tone. I’m especially glad that Kari refreshed our watches with against intelligent precious stones, as that likewise has a major effect in the capacity to kill undesirable reflections while presenting only a bit of glare as wanted for contrast.
The magnificence of bespoke craftsmanship
It’s consistently an advantage for me to deal with one of my companions’ custom chronographs. The craftsmanship is in every case colossally satisfying to the eye, and considering the little decisions that every individual from the gathering made makes the review fun and causes me to see more about them as people and collectors.
Which one of these pieces addresses you? What’s more, what did you find in the photographs that I may have missed?
I’ll anticipate perusing your contemplations in the comments below.
For more data, if it’s not too much trouble, visit www.voutilainen.ch/thing/masterpiece-chronograph-ii .
Quick Facts Kari Voutilainen Masterpiece Chronograph II
Case: pink gold, white gold, steel, or platinum, 40 mm, one watch with extraordinary official case back engraved by Eddy Jaquet
Dial: 18-karat gold dial in an assortment of shading plans (dark, anthracite, silver, blue) with applied or printed lists and printed markings
Development: physically twisted Caliber 25Q with gold or rhodium plating; 55-hour power hold
Capacities: hours, minutes, auxiliary seconds; enormous date, 30-minute chronograph, moon stage show
Constraint: restricted arrangement of 10 watches
Creation year: 2013
Cost: not disclosed
* This article was first distributed on June 30, 2018 at Behind The Lens: Two Unique Masterpiece II Chronographs From Kari Voutilainen .
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