This section is from the "Studio Light Incorporating The Aristo Eagle - The Artura Bulletin 1917" book, by Aristo Motto. Also see Amazon: Studio Light Incorporating The Aristo Eagle - The Artura Bulletin 1917.
While we are interested in the success of the profession collectively and individually, we may be pardoned for having a special interest in one who has made his success in Rochester and repeated it in New York.
There was little question as to what the result would be when Mr. Dudley Hoyt decided to move from Rochester to New York. And there was little question as to his reception by New York professionals.
His reputation was sufficiently established as a thorough workman and a man of business, to guarantee the success he would make in the metropolis.
His choice of a location on Fifth Avenue showed good judgment, for his work had the quality to back it up. The location of the Hoyt studio was out of the business section, but in the very heart of the best residential district, surrounded by the homes of New York's exclusive social set. It was the ideal location for the Hoyt studio because it was this class of people to whom his beautiful portraits would have the strongest appeal. And instead of growing away, business has gradually crept up the Avenue until it has surrounded him.
The furnishings of the studio are in excellent taste and include many valuable pieces of furniture, rugs and objects of art that add to the attractiveness of the quiet and dignified interior.
Artura Print, From An Eastman Portrait Film Negative By Dudley Hoyt New York.
He has always been very much interested in National and State Convention affairs and was one of those instrumental in organizing the Professional Photographers' Society of New York. He is also a prominent figure in National Conventions and is always willing to do his part towards making them a success, though in a very modest and unassuming way.
A portrait by Dudley Hoyt has almost the same amount of individuality as a portrait by Gainsborough or Reynolds. His style might be called idealistic, but it is distinctly and individually his own and not an imitation. And because it is an idealistic style it is especially pleasing to women.
The Hoyt portrait will idealize a plain woman - will accentuate all that is beautiful without losing the one thing that is essential - the likeness. And the woman that has been favored with beauty will lose none of it in a Hoyt portrait.
Mr. Hoyt was one of the early friends of Artura and has used this paper for all of the excellent work he has produced in recent years. Our illustrations are from Artura prints from Eastman Portrait Film negatives.