After the Meiji Restoration, photographs were becoming almost more popular than woodblock prints and the technical skill of the Japanese woodblock printer was capable of elevating hand coloring of photographs above what had been achieved in Europe. Artists would apply the color using water-soluble pigments that were more transparent than the oil paints used in the West. The paint was mixed with a small amount of glue. The process of coloring a photograph was so time consuming an expert could only complete two or three prints in a twelve-hour day. Soon however studios began to streamline the coloring process, where each colorist would specialize in a specific area of color, passing the photograph to another colorist after completing his section. By the 1890s, a successful studio regularly employed anywhere from 20 to 100 colorists.