Professional photographers today typically use dedicated photo printers from Canon and Epson that are built for archival quality, wide color gamut, and fine-art papers. These are very different from office “photo-capable” printers and are chosen based on print size (A3+, A2, or roll), ink type, and paper handling.

The Short Answer: What Printers Do They Use?

Most working photographers and fine‑art printmakers gravitate to:

  • Canon imagePROGRAF PRO series (PRO‑310, PRO‑1100, PRO‑2600 and similar) for pigment‑ink, gallery‑grade prints on matte and fine‑art papers.
  • Canon PIXMA PRO‑200 / PRO‑200S as a more affordable, dye‑ink A3+ option that still delivers vibrant, exhibition‑worthy prints, especially on glossy and lustre media.
  • Epson “P‑series” photo printers (for example P700/P900 and their successors) for fine‑art and black‑and‑white work on matte paper, thanks to very deep blacks and sophisticated pigment ink sets.

Think of these as the “standard kit” in many pro studios: one large pigment‑based printer for serious fine‑art and one smaller dye‑based unit for fast, punchy color prints.

Why Pros Pick These Printers

Photographers don’t just chase brand names; they look for a few non‑negotiable traits:

  • Pigment inks for longevity and fine‑art matte papers, or dye inks when they want ultra‑saturated glossy output and faster printing.
  • Wide color gamut 10–12 ink systems (like Canon LUCIA PRO II) to accurately reproduce subtle tones, deep blues, and rich shadows in big gallery prints.
  • Support for thick fine‑art papers, roll feeds, and long panoramas, which is common on imagePROGRAF and higher‑end Epson P‑series machines.
  • Reliable calibration and ICC‑profiled workflows so what they see on a calibrated monitor matches what comes out on paper.

In practice, that means a wedding photographer might rely on an A3+ printer for album spreads, while a landscape or gallery photographer invests in 17–24 inch roll printers for large wall art.

Popular Pro Models Right Now (HTML Table)

Below is an HTML table highlighting well‑known printers that many professional photographers use or consider, and what they’re best at.

html

<table>
  <thead>
    <tr>
      <th>Printer model</th>
      <th>Ink type / colors</th>
      <th>Max size / media</th>
      <th>Best for</th>
    </tr>
  </thead>
  <tbody>
    <tr>
      <td>Canon PIXMA PRO‑200 / PRO‑200S[web:1][web:3][web:5]</td>
      <td>Dye‑based, 8‑ink ChromaLife system[web:1][web:3]</td>
      <td>A3+ (13×19 in), long custom lengths[web:1][web:3][web:5]</td>
      <td>Vibrant glossy and lustre prints, students & budget‑conscious pros[web:1][web:3][web:5]</td>
    </tr>
    <tr>
      <td>Canon imagePROGRAF PRO‑310[web:1][web:5][web:9]</td>
      <td>10‑color LUCIA PRO II pigment + Chroma Optimizer[web:1][web:5]</td>
      <td>A3+; matte, glossy, and fine‑art media[web:1][web:5]</td>
      <td>Gallery‑quality color and B&amp;W, especially on fine‑art papers[web:1][web:5][web:9]</td>
    </tr>
    <tr>
      <td>Canon imagePROGRAF PRO‑1100[web:1][web:5]</td>
      <td>12‑color LUCIA PRO II pigment + Chroma Optimizer[web:1]</td>
      <td>A2, long panoramas up to ~3.27 m[web:1]</td>
      <td>Large exhibition prints, deep blacks, rich blue‑dark tones[web:1][web:5]</td>
    </tr>
    <tr>
      <td>Canon imagePROGRAF PRO‑2600 (24‑inch)[web:7]</td>
      <td>12‑color pigment with dedicated ink channels[web:7]</td>
      <td>24‑inch roll paper, high‑volume jobs[web:7]</td>
      <td>Production‑level fine‑art and commercial work, calibrated to specific papers[web:7]</td>
    </tr>
    <tr>
      <td>Epson P700 / P900‑class printers[web:7][web:10]</td>
      <td>Pigment inks, optimized for deep blacks on matte[web:7][web:10]</td>
      <td>Up to 17‑inch depending on model, some roll support[web:7][web:10]</td>
      <td>Fine‑art and B&amp;W on matte paper, serious enthusiasts and pros[web:7][web:10]</td>
    </tr>
    <tr>
      <td>Various “Top 7” pro photo printers (2025+)[web:4][web:6][web:8][web:9][web:10]</td>
      <td>High‑end dye and pigment systems, 8–12 inks[web:4][web:8][web:9][web:10]</td>
      <td>A3+ to 24‑inch and larger, often with roll feeds[web:4][web:8][web:9][web:10]</td>
      <td>Mix of studio portrait, landscape, and commercial photographers wanting premium output[web:4][web:8][web:9][web:10]</td>
    </tr>
  </tbody>
</table>

How Forum and Real‑World Pros Talk About It

On blogs and in pro communities, you’ll often see quotes along the lines of “the Canon imagePROGRAF PRO‑310 is my go‑to for gallery prints” or “I use an Epson P‑series for matte fine‑art and a Canon dye printer for quick glossies.” Discussions tend to revolve around:

  • Longevity and archival claims (pigment usually wins here).
  • The “look” of dye vs pigment on different papers, especially skin tones and deep skies.
  • Running costs and ink usage, which matter a lot when printing big 17–24‑inch panoramas or batches of client prints.

There is no single “official” printer all professionals use; instead, there’s a cluster of trusted models that keep showing up in recommendations, gear lists, and real‑world studio setups.

If You’re Choosing One Today (Story‑Style Quick Guide)

Imagine you’re a portrait and wedding photographer who mainly delivers albums and mid‑size wall prints. You might pick a Canon PIXMA PRO‑200S for fast, glossy A3+ work, then outsource the occasional giant wall canvas to a lab.

But if you’re a landscape photographer planning gallery exhibitions, you’re more likely to invest in a pigment‑based imagePROGRAF PRO‑310 or a 17–24‑inch Epson P‑series, so you can control every print from soft‑proofing to mounting. Over time, many pros end up with a dual‑printer setup: one compact, one large‑format, both tuned to their favorite papers and color‑managed workflow.

Information gathered from public forums or data available on the internet and portrayed here.