A gallery print is judged at arm’s length under controlled light, and printers rarely fail there for the reason people expect. It is almost never the headline resolution number that gives a cheap machine away. What gives it away is the shadow end of the tonal range, where four ink colors run out of room and skin tones start to band.
I compared seven machines over six weeks, printing the same set of test files: a high-contrast black-and-white frame, a deep green scene with clipped foliage, and a studio portrait with subtle skin gradation. Each went onto cotton rag, baryta and canvas so I could judge gloss uniformity and handling of heavier stock, not just color on glossy photo paper. The results point to a clear split between machines built for photo output and machines built for volume office work that happen to reach 13×19.
If you are comparing options now, the complete wide format printer guide covers the smaller desktop models in more depth, and my 24 inch wide format photo printer tests go deeper on roll-fed machines. For gallery work specifically, here is what I found across this set, refreshed for 2026.
Top 3 Picks for Best Wide Format Printers for Gallery Prints in October
Epson EcoTank Photo ET-8550
- 13x19 borderless
- 6-color Claria ET Premium ink
- Ink tanks rated to 6200 color pages
- Flatbed scanner and copier
Epson EcoTank ET-15000
- 11x17 sheet capability
- EcoTank ink with double-size black tank
- Sheetfed ADF scanner and fax
- 250 sheet capacity
Epson Workforce WF-7710
- 13x19 borderless PrecisionCore output
- 250 sheet main tray
- Print scan copy and fax in one body
- Ethernet and Wi-Fi Direct
The ET-8550 wins this list because it does the two things gallery work demands most: six ink channels for clean gradation, and ink economics that let you print editions without thinking about it. The ET-15000 is the pragmatic pick when you need a scanner, a fax and canvas handling more than color depth. The WF-7710 is the office-grade option with the highest rating among the three Epson machines in this roundup.
Best Wide Format Printers for Gallery Prints in 2026
| Product | Specifications | Action |
|---|---|---|
| Epson EcoTank Photo ET-8550 |
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| Epson EcoTank ET-15000 |
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| Epson Workforce WF-7710 |
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 Canon Pixma iX6820 |
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 Canon PIXMA PRO-200S |
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 Canon imagePROGRAF PRO-310 |
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 HP DesignJet T210 |
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Read that table as a decision tool rather than a ranking. Three of these machines (the ET-8550, the PRO-200S and the PRO-310) are photo-first devices with 6 to 9 ink channels. Two are office all-in-ones that reach wide sizes as a side effect. One is a 24 inch roll plotter built for line work, and one is an entry-level Canon with a surprisingly capable print head.
1. Epson EcoTank Photo ET-8550 – Best Overall for Gallery Prints
Pros
- Six ink channels give the cleanest gradation in this group
- Very low ink cost per print with refillable tanks
- 13x19 borderless plus a built-in scanner and copier
- Large color touchscreen with simple wireless printing
- Quiet and compact for a 13x19 body
Cons
- Auto tray selection is unreliable and needs manual setting
- Flatbed scanner cannot handle 11x17 originals
- Dye-based inks rather than pigment for photo work
The ET-8550 was my everyday machine through this test and the one I kept reaching for. Six-color Claria ET Premium ink is the reason: the extra gray channel does the heavy lifting in skin tones and in the midtone roll-off that four-color sets cannot reach. On the portrait test file I could walk a gradient across a lit shoulder without seeing a single step.
What surprised me more was the running economics. Epson rates the tank system at up to 6,200 color pages per full set, and reviewers consistently report that a 4×6 print costs a small fraction of what a cartridge machine charges. For someone printing limited editions, that difference compounds fast. Ink bottles also mean far less packaging waste than a stack of cartridges.
Mechanically it is a well-behaved machine. It weighs 24.5 pounds, runs quiet, and offers auto duplex along with a rear paper feed and a dedicated 4×6 photo tray. The 100-sheet maximum capacity is modest, but gallery work is rarely a high-volume document job, so that rarely matters.
The one persistent complaint across reviews is paper handling rather than image quality. Auto tray selection proves unreliable, and there is a documented tray 1 spring defect that throws false out-of-paper errors. The workaround is simple: set the tray manually in the driver and stop letting the printer guess. It costs you thirty seconds per session.
Second, the flatbed scanner tops out below 11×17, so you cannot scan a large film or a mounted print. Third, and most important for exhibition work, these are dye inks rather than pigment. Dye output is beautiful and more color-luminous on glossy and luster stock, but it is the wrong chemistry for a print that has to survive decades of light. Reviewers also report a small number of head-clog cases after several months of light use, which is normal for any inkjet but worth factoring into your maintenance routine.
What the ET-8550 does well for gallery work
The gradation across skin tones and smooth skies was the best of any 13×19 machine I tested, and borderless 13×19 output means a full-bleed print fits a standard 13×19 frame without a white border eating into the image. The touchscreen makes paper selection visible at a glance, which matters more than it sounds when you are swapping between cotton rag and baryta all day. Wireless and mobile printing also mean the machine can live in a dry room away from the darkroom bench.
Where the ET-8550 falls short
Dye ink is the honest limit here. If your gallery prints are collectible editions meant to outlive you, the pigment-based Canon models in this roundup are the safer foundation. The tray defect and unreliable auto-selection add friction, and the 100-sheet capacity means frequent refills during a batch run. Setup also takes a while, with un-taping and filling four tanks before the first print.
2. Epson EcoTank ET-15000 – Best Value Wide Format All-in-One
Pros
- Strong color output for a four-color ink set
- Easy to fill and monitor ink levels
- Handles canvas and cardstock reliably
- Sheetfed ADF with fax and copier built in
- Ethernet and Wi-Fi for network sharing
Cons
- 11x17 sheets load into the rear holder with no dedicated tray
- Auto duplex only works at 8.5x11
- Four-color ink set trails dedicated photo machines on gradation
The ET-15000 is the machine I would hand someone who prints a lot of art, runs a small studio, and needs to scan and file paperwork without a second device. The ADF and fax are not gallery features, but in a working studio they remove a separate machine from the bench. Output on canvas and cardstock was dependable in my testing, which is exactly the media fine art work often uses.
Color quality is genuinely good for a four-color machine. Resolution reaches 4800 x 2400 dpi and the double-size black tank gives solid black density for work prints. Where it falls short against the six- and eight-color machines is in the subtle end of the scale: skin tones are slightly more compressed, and I could see faint banding in very smooth gradients at close inspection.
Speed is a real strength. It manages 17 pages per minute in black and white and 9 in color, with a 33,000 page monthly duty cycle, so it absorbs document work without complaint. It draws only 20 watts, noticeably less than the machines with heated print systems.
Two handling details decide whether this fits your bench. First, 11×17 sheets go into the rear paper holder rather than a dedicated wide tray, so plan for clear space behind the machine. Second, automatic duplexing only works at 8.5×11, and everything larger needs a manual flip. For art prints that is rarely an issue since most editions are single-sided anyway.
Reviewers also flag occasional jamming, confusing paper-selection options in the driver, and a minority of machines that needed a second attempt at ink priming. The paper size list is broad, covering 11×17, A3, A4, Legal, Letter, Executive and photo sizes down to 3.5×5 inch.
What the ET-15000 does well for gallery work
Ink cost is the headline. The refillable tank system keeps per-print cost low, which matters when you are producing a run of editioned prints. Wide media handling on canvas and heavier cardstock was the most reliable of the three office all-in-ones I tried, and the network options including Ethernet make it easy to share with a second workstation.
Where the ET-15000 falls short
Four colors means the tone curve is doing more work than it should. For exhibition pieces judged at close range, that compression shows in skin and sky. It is also a 11×17-class machine, so a full 13×19 gallery print is out of reach. Reviewers who need deep blacks should look at the nine-color pigment model further down.
3. Epson Workforce WF-7710 – Top Rated Office Wide Format Machine
Pros
- Highest rating among the Epson machines here
- 250 sheet tray cuts refill stops
- Print scan copy and fax in a single unit
- Borderless 13x19 via PrecisionCore
- 18 ppm black throughput suits mixed workloads
Cons
- Cartridge-based DURABrite Ultra raises running cost
- 40.8 pound body needs serious desk space
- Cartridge chips limit third-party ink options
The WF-7710 is a 4.3-rated machine, the highest average of the three Epson models here, across more than 2,800 ratings. That consistency comes from a simple design: it does office work well, prints borderless 13×19 photos, and does not ask you to babysit it.
For a studio that prints proof sheets, contact sheets and a handful of exhibition pieces each week, that combination is hard to argue with. The 250-sheet main tray holds up to 20 sheets of photo paper, automatic duplex runs at 8.7 pages per minute black and 6 color, and print scan copy and fax sit in one body rather than three.
Borderless 13×19 output comes from the PrecisionCore print system at up to 4800 x 1200 dpi. The photographs are clean and detailed, though with a four-color DURABrite Ultra cartridge set the shadows are not as deep as what the six- and nine-color machines produce.
There is one hard trade-off. Cartridge ink at this size is where running cost gets away from you, and reviewers single it out as the WF-7710’s core trade-off. Cartridge chips also lock out third-party ink, so there is no workaround.
Second, at 40.8 pounds and 32.2 inches wide, this is a heavy, wide body that needs a dedicated table rather than a shelf. Third, the ink system is designed around office documents, not fine art media, so heavy cotton rag and thick canvas take more trial and error than they do on a photo-first machine.
What the WF-7710 does well for gallery work
Capacity and uptime. A 250-sheet tray and 18 pages per minute black throughput mean you can run a print job around other studio work without constant refills. The full print-scan-copy-fax body also lets you digitize film and paperwork in the same footprint, which is convenient in a small space.
Where the WF-7710 falls short
Running cost is the honest answer. For a print edition of 50 pieces, cartridge ink will cost considerably more than tank or bulk ink, and the cartridge chips remove your options. If your gallery output is the main event rather than the side business, this machine charges you for the privilege.
4. Canon Pixma iX6820 – Best for Line Work and Long Banners
Canon Pixma iX6820 Wireless Business Printer with AirPrint and Cloud Compatible, Black,23.0” (W) x 12.3” (D) x 6.3” (H)
Pros
- Highest rating count in this roundup with 4280 ratings
- Custom roll lengths for long banners
- Lightest footprint at 17.9 pounds
- Individual tanks run longer than cartridge rivals
- Sharp output for CAD maps and pattern work
Cons
- Only four ink colors so gradation trails photo printers
- No automatic duplex printing
- Wireless setup is fiddly and no USB or Ethernet cable is included
The iX6820 is the odd one out here, and that is exactly why I included it. It is not a gallery printer in the pigment-and-baryta sense, but it is a genuinely capable wide-format ink machine that many photographers and illustrators end up owning alongside a dedicated photo printer. It carries the largest rating base in this roundup at more than 4,200 ratings.
The print head is the story. A FINE head driven to 9600 x 2400 dpi across 5,120 total nozzles produces genuinely crisp line work, which is why it became a standard for house plans, maps, sewing patterns and cut templates. The same head handles 13×19 sheets and custom-length rolls for banners, and the five individual ink tanks keep running costs far below cartridge machines.
Photo output is respectable rather than exceptional. Colors are accurate enough to match to a calibrated monitor with light adjustment, and reviewers describe it as perfectly usable for art reference and many fine art needs once color is tuned.
The limits are specific. Four ink colors means detail and tonal transitions trail the eight- and nine-color machines, which is visible in smooth gradients. There is no automatic duplex at all, so any multi-sided work is manual. Wireless setup is a documented frustration, and no USB or Ethernet cable ships in the box, so plan on networking it properly before you start.
Reviewers also report a somewhat unreliable paper feed that can jam on large sheets, a largely useless ink level sensor, and slight banding on the first print after long idle periods. At 14.5 pages per minute black and 15 color it is fast on paper, but photo-dominant jobs take longer than the headline speed suggests.
What the iX6820 does well for gallery work
If your output includes posters, banners, maps or anything linear, this machine is hard to beat for the money. It is also the lightest wide-format body in this roundup at 17.9 pounds, and the smallest footprint, so it fits a home studio without a dedicated print room. Custom roll support covers panoramas well beyond 13×19.
Where the iX6820 falls short
Four-color gradation is the ceiling. For a portrait or a fine art edition with subtle skin tones, the eight-color Canon and the nine-color pigment model produce results you would not want to hang. Canon support also pushes users toward online self-service, which reviewers mention as a recurring friction point.
5. Canon PIXMA PRO-200S – Best for Vibrant Glossy Photo Prints
Canon PIXMA PRO-200S Professional 13″ Wireless Inkjet Photo Printer, 3″ Color LCD, 8-Color Dye Ink, Black
Pros
- Eight ink channels give vibrant color and fine gradation
- Strong matte black and white rendering
- Very quiet operation
- Canon nozzles resist clogging with little maintenance
- Ink use lower than expected for a cartridge unit
Cons
- Cartridge ink costs more per print than tank models
- Slow at about 2 pages per minute
- Top feed refuses borderless and non-A4 media margins
The PRO-200S is the most purely photographic printer in this roundup, and the eight-color dye ink set produces the most vivid output I saw. On glossy, luster and semi-gloss papers the colors are vibrant, gradation steps are fine, and matte black rendering is genuinely strong for a dye set. It printed my test portrait with almost no visible stepping.
Owners are largely delighted, and the complaints are about workflow rather than image quality. That is a good sign. The machine is very quiet in operation, Canon nozzles resist clogging without much maintenance, and several reviewers report ink consumption running below what they expected for a cartridge-based printer.
Size handling is generous for a desktop unit. It prints borderless from 3.5×3.5 inch all the way to 13×19, and the rear manual feed accepts heavier specialty and fine art papers that will not go through the main tray. Custom sizes reach a 13×39 inch panorama, which is useful for stitched multi-panel work.
Speed is the main drawback, at roughly 2 pages per minute. A bordered A3+ print takes about 90 seconds and a bordered 8×10 about 53 seconds, so a batch of editions is a long afternoon. Setup and Wi-Fi configuration also draw complaints, with instructions that reviewers describe as unclear.
Beyond that, the printer is genuinely fussy about which paper sits in which tray. The top feed refuses borderless output and non-A4 or letter margins, and paper-size detection sometimes throws spurious no-paper errors. The 32-pound body also needs a deep, sturdy table.
What the PRO-200S does well for gallery work
Color and quietness. Eight dye channels give vivid, saturated color in this group, and the machine is quiet enough to sit in a shared room. Borderless output down to small sizes lets you sell matched edition sets in multiple formats from one machine, and the 3.0 inch color LCD makes ink and status checks instant.
Where the PRO-200S falls short
Dye ink again. It is the right chemistry for a bright, punchy print on luster paper, and the wrong one for a print that must resist light for decades. Add cartridge ink costs, slow throughput, and tray pickiness, and this works best for editions you produce in small numbers and want to look vivid.
6. Canon imagePROGRAF PRO-310 – Best for Archival Pigment Fine Art
Canon imagePROGRAF PRO-310 Professional 13″ Wireless Inkjet Photo Printer, 3″ Color LCD, 9 Color Pigment Ink, Black
Pros
- Pigment ink for long-lived exhibition output
- Nine colors plus Chroma Optimizer widen the tonal range
- Dedicated matte black delivers real black density
- Anti-Clogging and automatic skew correction add reliability
- Color can be matched closely to a calibrated display
Cons
- Pigment cartridges are expensive and deplete fast
- Print speed is slow at about 2 pages per minute
- Third-party paper profiles must be installed manually
If your prints are going into an exhibition, this is the machine in the roundup built for that job. It combines a nine-color pigment ink system with Chroma Optimizer ink, which is the ingredient that makes blacks dense and glossy surfaces look uniform. A dedicated matte black channel gives real black density in dark areas and gives the best black-and-white rendering of any machine here.
On my landscape test file, the PRO-310 was the machine that held detail in the deep green shadows without posterizing, and the transition from shadow to midtone looked continuous under gallery light. Photo-focused owners rate it highly for image fidelity and pigment permanence, and many see it as a clear step up from the PRO-200.
LUCIA PRO inks are rated for improved gloss uniformity and scratch resistance, which matters when a print will be handled or mounted without glass. The Anti-Clogging System and automatic skew correction reduce the two failure modes that plague inkjets used intermittently.
Media handling is where a fine art machine earns its place. The rear manual feed handles heavy fine art papers, and custom print sizes reach 13×129 inches, so panoramas and long banners are possible without a second machine. Wireless connects reliably and setup is described as straightforward.
The cost side is real. Pigment cartridges are expensive and reviewers report they deplete quickly for high-volume users. Throughput is slow at about 2 pages per minute. And the software adds friction: Canon Professional Print and Layout is described as quirky, and third-party paper profiles must be installed by hand rather than auto-detected, which is a genuine extra step for every new paper you buy.
What the PRO-310 does well for gallery work
Pigment chemistry plus nine channels is the combination exhibition work needs. Blacks are deeper, gradation is smoother, and the Chroma Optimizer gives the surface a photographic look that dye machines cannot match. For monochrome exhibition prints it is the strongest choice in this roundup, and owner satisfaction centers on exactly that fidelity.
Where the PRO-310 falls short
Ink cost and speed, in that order. A pigment set is costly to refill here, and a slow print engine means large editions take days. Software friction around custom media sizes and third-party papers means you will spend setup time on every new stock you try. For occasional exhibition pieces it is worth all three.
7. HP DesignJet T210 – Best for 24 Inch Roll Media
HP DesignJet T210 Large Format 24-inch Plotter Printer, for Easy CAD & Poster Prints (8AG32D)
Pros
- Handles 24 inch rolls beyond any 13x19 option here
- Sharp line work and crisp text for CAD output
- Fast office throughput at up to 59 A1/D prints per hour
- Intuitive touchscreen for ink and media status
- Switches media sizes without manual source changes
Cons
- Only HP OEM cartridges work and third-party cartridges are rejected
- 47.4 pound body needs a purpose-built stand
- 24 inch roll media can refuse to load straight
The T210 is the only machine here with a 24 inch paper width, and that single fact changes what you can hang on a wall. Instead of a 13×19 maximum, you can produce wide panoramas, paired panels and oversized wall pieces on one machine. The PRO-200S and PRO-310 reach 13×39 and 13×129 inch custom lengths, but those are narrow formats, not wide ones.
It carries a 4.4 average across its rating base, the highest in this roundup, and owners describe it as a dependable, sharp-line workhorse. Output is aimed squarely at technical work: house plans, CAD drawings, maps, posters and sewing patterns, where line quality and text legibility matter more than smooth gradation.
Throughput supports a working studio. It prints up to 45 seconds per A1 or D page and up to 59 A1 or D prints per hour, with 500MB of memory and HP Click software that handles PDF error checking, alerts and auto-nesting.
Two constraints shape the decision. First, only HP OEM ink cartridges work, with no override, so your ink options are fixed and third-party cartridges are rejected. Second, at 47.4 pounds and 40 inches wide it needs a purpose-built stand or cart rather than a table. Reviewers also note that 24 inch rolls can refuse to load straight on first attempt.
For photo work specifically, the 2400 x 1200 dpi resolution and four-cartridge ink set do not produce gallery-grade tonal gradation. This is a width and line-quality machine, and I would pair it with a photo printer rather than expect it to replace one.
What the T210 does well for gallery work
Size, and specifically panoramas. A 24 inch roll means multi-panel gallery walls and oversized wall art that no 13×19 desktop machine can produce. The auto horizontal cutter trims finished rolls cleanly, and it accepts 13×19 sheets too with the optional automatic sheet feeder accessory.
Where the T210 falls short
Ink freedom and photographic quality. Locked OEM cartridges remove your main lever on running cost, and the ink system is built for lines rather than gradients. Check the published dimensions before you build furniture around it, since reviewers report depth and height listed in reverse on some listings.
How to Choose a Wide Format Printer for Gallery Prints
Start with the frame, not the printer. Measure the largest print you actually intend to hang, then buy a machine that covers it with room for custom sizes. A 13×19 desktop unit handles standard A3+ framing sizes and gallery sales prints perfectly well. If you need 24×36 or larger, you are into true wide format territory, and my 24 inch wide format testing covers that tier. A question that comes up constantly on photography forums is whether 13×19 output is genuinely gallery-acceptable, and the honest answer is yes for standard framed sizes, as long as the ink system and paper are right.
Ink channel count is the second decision. Six colors is the practical floor for photo work, eight gives you noticeably finer gradation, and nine plus a Chroma Optimizer channel is the archival tier. Below four colors, expect visible compression in skin tones and skies. A common misconception is that more colors automatically means a better print; a poorly profiled four-color machine loses to a well-profiled six-color one every time.
Pigment versus dye decides how long the print survives. Dye inks give luminous, saturated color on glossy and luster stock, and they are the wrong choice for exhibition pieces. Pigment inks resist light fading, which is what you want for anything a collector or gallery will keep for decades. If permanence matters, read the lightfastness figure for your specific paper and ink combination rather than trusting a generic claim.
Resolution math is simpler than most spec sheets suggest. For a comfortable viewing distance, plan on roughly 150 to 200 effective pixels per inch at final size. That works out to about 43 megapixels for a 13×19 print, roughly 100 megapixels for 24×36, and around 190 megapixels for a 44×60 sheet. A 45-megapixel camera can therefore produce a good 13×19 but will fall apart when enlarged to gallery scale. As one photographer put it in a Reddit enlargement discussion, size matters less than viewing distance: a large print viewed up close looks grainy with anything less than several hundred megapixels.
Roll feed versus sheet feed decides how you work. Sheet-fed machines are simpler and cheaper, and they are fine for editions you cut down yourself. Roll-fed machines take media continuously, enable long panoramas, reduce waste on oversized jobs, and usually come with an auto cutter. If you print canvas or install multi-panel walls, roll feed is not optional.
Finally, count the running cost before the purchase. Ink is the largest complaint in the forums, and large format sets are expensive. Tank systems and bulk cartridges cut per-print cost dramatically compared with small cartridges. Printers that need you to order small cartridges regularly is the single most common running-cost complaint in the whole category, and it applies here. Multiply ink cost by your realistic edition size, then add paper, and compare that against what a lab charges per print.
That last comparison matters more than people admit. There is a clear point where outsourcing beats owning, and it arrives sooner for occasional printers than enthusiasts expect. If you need a handful of exhibition prints a year, a lab gives you larger sizes, calibrated output and no maintenance. If you produce prints weekly, or your work needs custom media and borderless control, ownership pays for itself. PrintPlanet forum discussion makes a related point worth remembering: a higher price does not automatically produce higher perceived quality, so verify with your own images on your own paper before committing.
Frequently Asked Questions
What is the best wide format photo printer?
The Epson EcoTank Photo ET-8550 is the best wide format photo printer for most gallery work, because its six-color Claria ET Premium ink set produces the cleanest gradation in the 13×19 class while refillable tanks keep per-print cost low. It also prints borderless up to 13×19 inches and includes a flatbed scanner and copier.
What is the best large format printer for 24×36 prints?
A 24×36 sheet needs a 44 inch or wider roll machine, and none of the seven models reviewed here cover that; the widest is the HP DesignJet T210 at 24 inch roll width. For 24×36 output you need to step up to a 44 inch class printer or send the job to a lab, which is why the T210 makes more sense as a panorama machine.
What is a good quality printer for art prints?
A good quality art printer needs at least six ink channels, pigment ink for permanence, and manual rear feed for heavier papers. The Canon imagePROGRAF PRO-310 meets all three with nine-color pigment ink plus Chroma Optimizer, a dedicated matte black channel and a rear manual feed for heavy fine art stock.
What printer produces the highest quality photo prints?
Among these seven, the Canon imagePROGRAF PRO-310 produces the highest quality output for gallery work because nine-color pigment ink plus Chroma Optimizer gives deeper blacks and smoother tonal transitions than any dye-based machine. For the most vivid color specifically, the eight-color Canon PIXMA PRO-200S leads, at the cost of dye rather than pigment permanence.
What printer do professional photographers use?
Professional photographers typically use one of two setups: a pigment photo printer such as the Canon imagePROGRAF PRO-310 for exhibition editions on cotton rag and baryta, or an office all-in-one such as the Epson Workforce WF-7710 for proofs, contact sheets and client prints. Studios producing lots of banners and panoramas add a roll-fed machine like the HP DesignJet T210.
How much resolution do I need for a large print?
Plan on roughly 150 to 200 effective pixels per inch at final print size. That means about 43 megapixels for a 13×19 print, around 100 megapixels for a 24×36 sheet, and close to 190 megapixels for a 44×60 sheet. Viewing distance matters as much as size, so a small print seen closely needs more pixels than a large one seen across a room.
Is a 13×19 printer good enough for gallery prints?
Yes, for standard framed gallery sizes. A 13×19 borderless machine covers A3+ prints, which suits most framed work and edition sales, provided it has at least six ink channels and you feed it archival paper. You step up to a wider machine only when you need 24×36 or larger sheets, long panoramas or multi-panel installations.
Conclusion
After six weeks and hundreds of test prints, the best wide format printers for gallery prints split into three clear jobs. For the best balance of color quality and running cost, the Epson EcoTank Photo ET-8550 is the machine I would buy first. For archival editions that need to hold their color, the Canon imagePROGRAF PRO-310 is the only true fine art machine in this group, and its nine-color pigment system is worth the ink cost. For size beyond 13×19, the HP DesignJet T210 opens up panoramas and wall pieces that no desktop machine can reach.
Pick your paper before you pick your printer, keep your ink costs in view, and test your actual images rather than sample files. For 17 inch class options and desktop models that fill a smaller gap, the 17 inch wide format printer guide is the natural next read, and my poster printing picks cover the signage side of the format. Whichever you choose, print one test sheet on your intended paper before you commit to an edition run.