Gallery prints live or die on the printer behind them, and pigment ink is the technology that gets a print onto a wall instead of into a drawer. Dye inks fade and shift over time; pigment inks sit on the paper surface, resist light and humidity, and hold their color for decades. That is why exhibition photographers and fine art sellers almost universally print on pigment machines. In this comparison I focused on two Canon imagePROGRAF models — the PRO-1100, a 17-inch workhorse built around an 11-color LUCIA PRO II ink set, and the PRO-310, a compact 13-inch option using 9 colors plus the same Chroma Optimizer gloss system.
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The central tradeoff here is simple: print width versus footprint and ink flexibility. The PRO-1100 gives you two extra ink channels, larger 80 mL tanks, and the ability to produce 17-inch gallery pieces that command higher prices. The PRO-310 counters with a desktop-friendly size, a dedicated Matte Black channel for fine art papers, and a meaningfully lower barrier to entry. Both share Canon’s anti-clogging print head design and skew correction, so reliability is not the differentiator — output size and ink depth are. My breakdown below helps you decide which of those matters more for your work.
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Key Takeaways
- The PRO-1100’s 11-color ink system adds Red, Blue, and a dedicated photo black path versus the PRO-310’s 9 colors, widening the color gamut for saturated gallery work at 17 inches.
- Both printers use LUCIA PRO II pigment inks with Chroma Optimizer, so gloss uniformity — the tell of an amateur print — is equally strong on either machine.
- The PRO-310 carries a dedicated Matte Black ink for deep blacks on cotton and bamboo fine art papers, which matters if you sell matte-finish gallery prints.
- The PRO-1100’s 80 mL ink tanks cut cost-per-print and refill frequency for high-volume sellers, while the PRO-310 keeps consumables smaller for occasional printers.
- Neither machine scans or copies; both are print-only devices, so buyers wanting an all-in-one need to look elsewhere entirely.
| Canon imagePROGRAF PRO-1100 17-Inch Professional Wireless Inkjet Photo Printer |  | Best Overall for Serious Gallery Work | Printer type: Wireless wide-format inkjet photo printer | Maximum print width: 17 inches | Ink system: 11-color LUCIA PRO II pigment with Chroma Optimizer | VIEW ON AMAZON | See Our Full Breakdown |
| Canon imagePROGRAF PRO-310 Professional 13″ Wireless Inkjet Photo Printer, Black |  | Best Value for Studio-Quality Prints at 13 Inches | Printer type: Wireless inkjet photo printer | Maximum print width: 13 inches | Ink system: 9-color LUCIA PRO II pigment plus Chroma Optimizer | VIEW ON AMAZON | See Our Full Breakdown |
| pigment ink photo printer for gallery print | Printer type | Maximum print width | Ink system | Warranty |
|---|---|---|---|---|
| Canon imagePROGRAF PRO-1100 17 | Wireless wide-format inkjet photo printer | 17 inches | 11-color LUCIA PRO II pigment with Chroma Optimizer | 1 year limited |
| Canon imagePROGRAF PRO-310 Pro | Wireless inkjet photo printer | 13 inches | 9-color LUCIA PRO II pigment plus Chroma Optimizer | Limited |
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Canon imagePROGRAF PRO-1100 17-Inch Professional Wireless Inkjet Photo Printer
The Canon imagePROGRAF PRO-1100 is the printer I would point to first for anyone whose prints are destined for frames, exhibitions, or client sales at scale. Its defining advantage over the PRO-310 is the 11-color LUCIA PRO II ink set, which adds channels that expand the color gamut into reds, blues, and skin tones that a 9-color system reproduces less fully. For gallery prints, that difference shows up in saturated sunsets, deep teal shadows, and subtle flesh gradients — exactly the areas where prints are scrutinized.
The second differentiator is sheer capacity. Each of the eleven tanks holds 80 mL of ink, which means fewer mid-edition cartridge swaps and a lower cost per print when you are producing runs of twenty or fifty. Compared with the PRO-310’s smaller consumables, this model makes sense the moment printing becomes a revenue stream rather than an occasional project. The 17-inch print width also opens the door to larger formats that galleries and collectors pay premiums for — sizes a 13-inch machine simply cannot produce.
The Chroma Optimizer channel deserves specific mention: it applies a clear overlay that evens out gloss across dark and light areas, eliminating the blotchy bronzing that betrays inkjet prints under gallery lighting. Combined with Canon’s anti-clogging print head and paper skew prevention, this machine is built to run reliably through long sessions on thick fine art stock.
The tradeoffs are real, though. This is a large, heavy, print-only device that commands a dedicated space and a serious budget — for its price and ink costs, plus the sheer physical commitment it demands. A hobbyist printing a few 13-inch pieces a month would be paying for capacity they never touch. This option stands out for professionals; it overshoots casual needs.
Pros:- 11-color pigment ink system delivers a wider color gamut and richer detail in dark areas than the 9-color PRO-310
- Chroma Optimizer produces uniform gloss that holds up under gallery lighting
- 80 mL ink tanks reduce interruptions and per-print costs on long edition runs
- Anti-clogging print head and skew prevention keep thick fine art papers feeding reliably
Cons:- Large physical footprint demands dedicated studio or office space
- Substantial investment in the printer and its 11-ink consumable set
- Print-only device with no scanning or copying functions
Best for: Professional photographers, galleries, and fine art sellers producing larger-format or high-volume archival prints
Not ideal for: Hobbyists, beginners, and anyone limited to 13-inch prints or tight desk space
- Printer type:Wireless wide-format inkjet photo printer
- Maximum print width:17 inches
- Ink system:11-color LUCIA PRO II pigment with Chroma Optimizer
- Ink capacity:80 mL per ink tank
- Compatible inks:Canon PFI-4100
- Print head:Anti-clogging design with skew correction
- Software:Professional print and printer management suite included
- Connectivity:Wireless
- Warranty:1 year limited
Our verdict“The PRO-1100 is the machine to buy when gallery printing is your profession, not your hobby — nothing else in this pairing matches its gamut, capacity, and 17-inch reach.”
Canon imagePROGRAF PRO-310 Professional 13″ Wireless Inkjet Photo Printer, Black
Not everyone needs a 17-inch floor-standing machine, and the Canon imagePROGRAF PRO-310 makes that case convincingly. What struck my comparison most is that it shares the same LUCIA PRO II pigment chemistry and Chroma Optimizer as the PRO-1100, so archival stability and gloss uniformity — the two qualities that define a gallery print — are not compromised. What you give up is gamut breadth and width, not print character.
Its standout feature for fine art work is the dedicated Matte Black ink channel. On cotton rag, bamboo, and other matte fine art papers, matte black produces deeper, denser blacks than photo black can manage, and the PRO-310 carries it without the ink-wasting switchover that single-black-slot printers require. Compared with the PRO-1100, which serves a broader professional palette, this model is better suited to photographers whose gallery work leans toward matte and B&W presentations.
Practically, the 3-inch color LCD makes ink and settings monitoring painless, and the compact footprint — about 19 inches wide and 32 pounds — lets it live on a sturdy desk rather than a dedicated print station. At 2 pages per minute it is unhurried, but fine art printing at 1200 x 1200 dpi has never been a speed contest; the PRO-1100 asks for similar patience in exchange for quality.
The honest limitations: 13 inches caps you out of the larger gallery formats, the print-only design offers no scanning or copying, and 31.6 pounds is heavy for something marketed as desktop-friendly. Advanced amateurs and working photographers building a print business at standard sizes will find this pick makes the most sense for them; commercial studios chasing 17-inch wall pieces should skip straight to the PRO-1100.
Pros:- Full LUCIA PRO II pigment inks with Chroma Optimizer at a more accessible size and price point
- Dedicated Matte Black channel produces deep blacks on fine art matte papers
- Compact footprint and 3-inch color LCD fit a desktop workflow
- Anti-clogging technology and skew correction for dependable fine art media handling
Cons:- 13-inch maximum width rules out larger gallery formats
- Slow 2 pages per minute output rating
- Heavy at 31.6 pounds for a desktop printer
Best for: Advanced amateurs and emerging professionals producing archival 13-inch gallery and fine art prints
Not ideal for: Studios needing 17-inch output or multi-function scanning and copying
- Printer type:Wireless inkjet photo printer
- Maximum print width:13 inches
- Ink system:9-color LUCIA PRO II pigment plus Chroma Optimizer
- Resolution:1200 x 1200 dpi
- Print speed:2 pages per minute (color and B&W)
- Display:3.0-inch color LCD
- Dimensions:28.7D x 18.6W x 14.04H inches
- Weight:31.6 pounds
- Warranty:Limited
Our verdict“The PRO-310 delivers genuine gallery-grade pigment printing in a desk-sized package — the smart choice if 13 inches covers your ambitions.”
How We Picked
Since only pigment ink machines were eligible, that requirement eliminated dye-based photo printers immediately regardless of their color quality. From there, I judged each model against what gallery printing actually demands: archival stability, black-and-white neutrality, paper handling for thick fine art media, and gloss uniformity on luster and glossy finishes.
I weighted ink system design heavily — the number of colors, the presence of a Chroma Optimizer channel, and whether the machine switches or carries dedicated black inks. I also weighed maximum print width, because 13-inch and 17-inch outputs serve different markets and price points. Finally, I considered practical studio realities: physical footprint, ink tank capacity, daily reliability features like anti-clogging heads and skew correction, and how each machine fits a working photographer’s volume. Where a feature looked identical on paper, I looked at how it translated into buyer outcomes — a larger tank is not a spec, it is fewer interruptions during an edition run.
| pigment ink photo printer for gallery print | Printer type |
|---|---|
| Canon imagePROGRAF PRO-1100 17 | Wireless wide-format inkjet photo printer |
| Canon imagePROGRAF PRO-310 Pro | Wireless inkjet photo printer |
Factors to Consider When Choosing Pigment Ink Photo Printer For Gallery Prints
Choosing between these two printers comes down to a handful of questions about your output, your space, and your paper preferences. Here is how I would work through the decision.Print Width and Your Market
The 13-inch versus 17-inch divide is the single biggest fork in this comparison. A 13-inch printer produces prints up to roughly 13 x 19 inches — the standard sizes sold at art fairs, in portfolios, and through online shops. A 17-inch printer opens up 17 x 22 and larger, the formats that galleries often prefer for wall presence and that carry higher sale prices. If you cannot name a buyer or venue asking for 17-inch work, the smaller machine probably covers you.
Ink System Depth
Both printers use Canon’s LUCIA PRO II pigment ink with Chroma Optimizer, so both produce archival, gloss-uniform prints. The PRO-1100’s 11-color set widens the gamut for demanding color work, while the PRO-310’s 9-color set with dedicated Matte Black prioritizes fine art matte papers and black-and-white output. Match the ink set to your dominant style rather than chasing the bigger number.
Running Costs and Volume
Ink is where the long-term money goes. The PRO-1100’s 80 mL tanks lower cost per print for high volumes, but you are buying eleven of them. The PRO-310’s smaller consumables cost less to restock at once but deplete faster during heavy use. Occasional printers come out ahead with the smaller machine; edition-running studios benefit from the larger one.
Space and Workflow
Measure before you buy. The PRO-1100 demands a dedicated stand and clearance for large sheet feeding, while the PRO-310 fits a reinforced desk. Both are print-only devices — if your workflow also needs scanning or copying, neither will cover it, and you should factor a separate scanner into your plans.
Frequently Asked Questions
Why does pigment ink matter for gallery prints?
Pigment inks encapsulate color particles in resin that sits on the paper’s surface rather than absorbing into it like dye. The practical result is archival stability — pigment prints resist fading from light, ozone, and humidity for periods measured in decades rather than years, which is what galleries and collectors expect from saleable work. Pigment also delivers better performance on matte fine art papers, where dye inks tend to look flat and washed out. Both printers in this comparison use Canon’s LUCIA PRO II pigment system, so either one produces prints that can legitimately be sold as archival.
What does the Chroma Optimizer actually do?
The Chroma Optimizer is a clear ink channel that lays down a uniform gloss layer over the printed image. Without it, dark areas of a glossy or luster print reflect light differently than light areas, producing an effect called bronzing or gloss differential — a giveaway of amateur output under gallery spotlights. With it, the entire surface reflects evenly and the print reads more like a traditional photographic print. Because both the PRO-1100 and PRO-310 include this channel, gloss quality is one factor you do not have to weigh between them.
Is the PRO-310 good enough for selling prints professionally?
Yes, within its size class. The PRO-310 uses the same pigment ink family and Chroma Optimizer as the larger PRO-1100, so print quality and longevity are genuinely professional rather than consumer-grade. Its dedicated Matte Black channel even gives it an edge on cotton rag and other fine art matte papers that sell well in print markets. The limitation is width — 13 inches caps your formats at sizes like 13 x 19. If your buyers want those sizes, the PRO-310 is a legitimate business tool; if they want large statement pieces, you need the PRO-1100.
How much space do I need for each printer?
The PRO-310 occupies roughly 19 inches of width and 29 inches of depth, and at 31.6 pounds it needs a sturdy desk but no special furniture — though that weight is substantial for a desktop unit. The PRO-1100 is a wide-format machine designed for a dedicated stand or table, with additional clearance needed at the front and rear for feeding and catching 17-inch sheets. I would plan on a printer station rather than a desk corner for the larger model. Neither machine offers scanning or copying, so they will not consolidate other equipment off your desk.
Which printer is better for black-and-white gallery prints?
Both produce strong monochrome output thanks to pigment inks and Canon’s gray and black channels, but they approach it differently. The PRO-310’s dedicated Matte Black channel makes it especially strong for black-and-white work on matte fine art papers, where dense, deep blacks are the hallmark of a fine print. The PRO-1100 offers more total ink channels and a broader tonal range for large monochrome pieces, plus the size to print them big. If B&W on matte paper at standard sizes is your focus, the PRO-310 is arguably the better fit; for large exhibition monochrome, the PRO-1100 wins by default of its width.
Conclusion
If gallery printing is your profession, the PRO-1100 is the clear pick — its 11-color gamut, 80 mL tanks, and 17-inch capacity are built for edition runs, exhibitions, and collectors who want statement-size pieces. Working photographers selling standard sizes at art fairs and online will get everything they need from the PRO-310, and its Matte Black channel gives it a real edge for fine art matte and black-and-white work. Serious hobbyists and photographers building their first archival print offering should also start with the PRO-310 and upgrade only when buyers ask for bigger walls. Whichever you choose, both machines share the pigment chemistry and Chroma Optimizer that make gallery-grade output possible — the decision is really about how big your ambitions print.
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