Digital Product Analysis & Reviews
by Remington May
After testing dozens of printers, the Epson SureColor P700 stands out as our top pick for black and white photo printing in 2026 — its UltraChrome PRO10 ink system with dedicated matte and photo black nozzles delivers tonal depth that rivals darkroom silver gelatin prints. Whether you're a fine art photographer chasing gallery-quality monochrome output or someone who simply wants crisp, lasting black and white prints at home, the right printer makes all the difference.
Black and white photo printing is deceptively demanding. A printer that produces gorgeous color work can still fall flat with monochrome — banding in shadow gradients, warm or cool color casts in supposedly neutral grays, and poor dmax (maximum black density) are common complaints. The printers on this list tackle these challenges differently. Some use advanced pigment ink sets with multiple black and gray cartridges for smooth tonal transitions. Others are high-speed monochrome laser printers built for volume document output rather than photographic work. Understanding which category fits your needs is key.
We evaluated each model across print quality, tonal range, media handling, speed, and cost of ownership. Our lineup includes wide-format inkjet photo printers from Epson and Canon alongside budget-friendly monochrome lasers from Brother and HP. If you're also exploring options for color photo work, check out our guide to the best printers for photographers in 2026. Below, you'll find detailed reviews, a comparison table, and a buying guide to help you choose the right black and white photo printer for your workflow.

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The Epson SureColor P700 is the printer that earns our top recommendation for black and white photo enthusiasts in 2026. At its core is the UltraChrome PRO10 ink system with ten pigment-based inks, including a dedicated Violet channel that extends the color gamut — but more importantly for monochrome work, three levels of black ink (Photo Black, Matte Black, and Light Light Black) work together to produce remarkably smooth tonal gradients from the deepest shadows to the brightest highlights. The result is black and white output with exceptional dmax and virtually no visible banding, even in the most challenging shadow transitions.
One of the P700's standout features is the elimination of Photo Black and Matte Black ink switching. Older Epson models wasted ink and time swapping between these two blacks depending on your media type. The P700 uses a 10-channel MicroPiezo AMC printhead with dedicated nozzles for both, so you can switch freely between glossy and matte papers without any ink loss or wait time. This is a significant quality-of-life improvement if you regularly print on different media. The 13-inch maximum width is generous enough for most portfolio and exhibition prints, though it won't cover you if you need 17-inch panoramic output.
Print speed is respectable for the quality level — a borderless 13×19 inch print takes roughly four to five minutes. The printer handles roll media as well as cut sheets, giving you flexibility for panoramic formats. Connectivity includes USB, Ethernet, and Wi-Fi, and the 4.3-inch color LCD touchscreen makes standalone operation straightforward. For anyone serious about monochrome printing who doesn't need wide-format output, the P700 hits the sweet spot of quality, convenience, and value.
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If you need wider output than the P700 can deliver, the Epson SureColor P900 steps up to a 17-inch maximum print width while retaining the same outstanding UltraChrome PRO10 ink technology. This bundle includes an Ethernet cable, USB cable, and fiber cleaning cloth, giving you everything needed to get started right out of the box. The P900 uses the same ten pigment-based inks and simultaneous matte and photo black channels as its smaller sibling, so there's no compromise in monochrome quality when you move to the larger format.
The P900 is built for photographers and fine art printers who regularly produce exhibition-sized work. At 17 inches wide, you can output portfolio prints, gallery pieces, and large proofs without needing to outsource to a print lab. The smooth tonal transitions that make the P700 excellent for black and white are present here as well — the dedicated black ink channels ensure clean shadow detail and neutral grays across the entire tonal range. Epson's Advanced MicroPiezo AMC printhead maintains precision even at larger sizes, with minimal head strikes and consistent dot placement.
The trade-off is size and cost. The P900 occupies significantly more desk space than the P700, and ink consumption naturally increases with larger prints. That said, for photographers who regularly print at 17×22 inches or who want to offer large-format prints to clients, this is the most capable desktop option available. It supports the same roll media capability as the P700, handles sheets up to 17 inches wide, and offers USB, Ethernet, and wireless connectivity. If you're interested in exploring more Canon Pixma alternatives, we've covered those separately.
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Canon's imagePROGRAF PRO-1100 brings a different approach to high-end black and white printing with its 11 pigment-based LUCIA PRO II ink system plus a Chroma Optimizer. That's twelve channels total, including dedicated Photo Black and Matte Black inks. The Chroma Optimizer is a clear overcoat that flattens the print surface on glossy media, reducing bronzing artifacts and improving the uniformity of gloss across the print. For black and white work on glossy or semi-gloss papers, this can make a noticeable difference in how the final print looks under different lighting angles.
The LUCIA PRO II inks represent Canon's latest refinement in color reproduction and tonal accuracy. Dark areas in particular benefit from improved density and smoother gradation compared to previous Canon photo printers. The 17-inch width matches the Epson P900's capability, making this a direct competitor for photographers who want wide-format desktop output. Canon's Professional Print & Layout software is a capable tool for managing color profiles, creating soft proofs, and handling layouts — it works as a standalone application or as a plug-in for Adobe Photoshop and Lightroom, as well as Canon's Digital Photo Professional.
Where the PRO-1100 particularly excels is in its anti-bronzing performance on glossy media. Bronzing — that unwanted metallic sheen that can appear on pigment prints under certain lighting — has long been a concern for fine art printers. Canon's combination of the LUCIA PRO II inks and Chroma Optimizer largely eliminates this issue, producing prints that look consistent regardless of viewing angle. The printer also supports wireless connectivity, which is convenient for studio setups where running cables to a dedicated print station isn't ideal.
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The Canon imagePROGRAF PRO-310 occupies a similar position to the Epson P700 — a 13-inch-wide professional photo printer designed for photographers who don't need full 17-inch output. It uses a 9-color pigment ink system plus Canon's Chroma Optimizer, giving you ten channels of ink for smooth tonal gradations and accurate color reproduction. The dedicated Matte Black ink channel enhances black density and extends the dark area reproduction range, which is critical for black and white photography where shadow detail separates a good print from a great one.
Canon has included practical engineering improvements that streamline daily use. The Anti-Clogging System helps maintain print quality over time, reducing the frequency of manual head cleaning cycles that waste ink. Skew Correction automatically adjusts for minor paper misalignment during feeding, which is especially valuable when working with thicker fine art media that can be harder to feed straight. A 3.0-inch color LCD monitor on the front panel provides at-a-glance status information and makes it easy to navigate settings without needing a connected computer.
For photographers considering the PRO-310 versus the Epson P700, it largely comes down to ecosystem preference and specific output needs. The PRO-310's nine-color system delivers excellent results, though the P700's ten-ink configuration with its dedicated Violet channel offers a slightly wider gamut. Both handle black and white beautifully. If you're already invested in Canon's software ecosystem with Digital Photo Professional, the PRO-310 integrates seamlessly. It's also worth considering if you plan to use duplex printing for documents alongside photo work — though keep in mind this is primarily a photo printer, not a general-purpose office machine.
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The Canon Pixma Pro-200s takes a fundamentally different approach from the other photo printers on this list — it uses dye-based inks rather than pigment-based. This distinction matters for black and white printing. Dye inks produce vibrant, saturated colors and smoother gradients on glossy photo paper, but they're generally less archival than pigment inks and more susceptible to fading over extended periods. For photographers who print for display behind glass or for portfolio presentations rather than long-term gallery exhibition, the Pro-200s offers compelling output quality at a more accessible price point.
The Pro-200s handles a wide variety of media types and sizes, including borderless printing, art papers, and panoramic formats. The built-in 3-inch LCD display lets you check ink levels and perform maintenance without connecting to a computer. Print quality on glossy media is genuinely impressive — dye inks tend to produce deeper, more saturated blacks on glossy surfaces than pigment inks, so your black and white prints can have a striking richness when printed on premium glossy or luster paper. The trade-off is that on matte and fine art papers, dye inks don't perform as well as pigments.
If your black and white printing workflow centers on glossy or semi-gloss output and you don't need prints to last decades without fading, the Pro-200s is a strong value proposition. It's also significantly less expensive to purchase than the imagePROGRAF models. Just be aware of the longevity limitation — for archival work or prints destined for gallery walls without glass protection, a pigment-based printer is the safer choice.
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Let's shift gears entirely. The Brother HL-L2460DW is not a photo printer — it's a monochrome laser printer built for fast, reliable black and white document output. If your definition of "black and white printing" is crisp text documents, contracts, reports, and occasional graphics rather than fine art photography, this is your machine. At up to 36 pages per minute with automatic duplex printing, it handles office workloads with ease. The output is clean, sharp, and consistent — exactly what you'd expect from a modern laser printer.
Connectivity is a strong point here. The HL-L2460DW includes dual-band Wi-Fi (both 2.4GHz and 5GHz), Ethernet, and USB, covering every common office networking scenario. The Brother Mobile Connect app lets you manage the printer remotely, print from mobile devices, track toner usage, and order supplies. Alexa compatibility adds voice-controlled printing if you're into smart home integration. The 250-sheet input tray is adequate for light to moderate use, though heavy-volume offices might want to add the optional lower tray.
Where the HL-L2460DW fits into this roundup is for readers who searched for "black and white printer" meaning document output rather than photographic printing. It does that job exceptionally well at a fraction of the cost of the photo printers above. Running costs are low — laser toner is far more economical per page than inkjet ink, and you won't deal with dried-out nozzles if the printer sits idle for weeks. Just don't expect photographic quality from it. For a deeper look at affordable laser options, see our roundup of the best cheap laser printers in 2026.
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The HP LaserJet Pro M404n is a workhorse monochrome laser printer aimed squarely at small businesses and busy home offices. It prints at up to 40 pages per minute — faster than the Brother HL-L2460DW — and features a fast first-page-out time that minimizes waiting when you send a quick print job. The 250-sheet input tray keeps paper loaded for extended runs, and the overall build quality reflects HP's long experience in the business printer market. This is a printer designed to run reliably, day after day, without fuss.
One feature that distinguishes the M404n in a business context is HP Wolf Pro Security, which provides hardware-level protection against cyber threats targeting the printer's firmware and operating system. In an era where networked printers are increasingly targeted as entry points for network intrusions, built-in security features are no longer optional for business environments. The M404n connects via built-in Ethernet and USB — note that this model does not include Wi-Fi, so you'll need a wired network connection or direct USB setup.
Like the Brother, the M404n is a document printer, not a photo printer. Its strength is producing clean, professional-looking text and business graphics at high speed and low cost per page. If you're printing invoices, contracts, reports, and correspondence in black and white, this is one of the most efficient machines available. The lack of wireless connectivity is the primary drawback — if you need Wi-Fi, look at the M404dw variant instead. For more options in our full buying guide, we cover additional criteria to help narrow your search.
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This is the single most important decision for black and white photo printing. Pigment-based inks use microscopic particles suspended in liquid — they sit on top of the paper surface, resist fading for decades, and perform well on both glossy and matte media. The Epson UltraChrome PRO10 and Canon LUCIA PRO II systems are both pigment-based. Dye-based inks, like those in the Canon Pixma Pro-200s, dissolve into the paper and produce more vibrant colors on glossy media, but they fade faster and struggle on matte surfaces. For archival black and white work — prints you want to last 75 to 100 years or more — pigment ink is the clear choice.
Smooth tonal gradations in black and white printing depend heavily on how many distinct black and gray ink channels the printer uses. A printer with only one black ink must create lighter grays by spacing out tiny dots, which can reveal visible patterns (banding or graininess) in smooth gradient areas like skies or skin tones. Printers like the Epson P700 and P900 use multiple black and gray inks — Photo Black, Matte Black, Light Black, and Light Light Black — to produce seamless transitions across the entire tonal range. More channels generally mean smoother monochrome output.
Desktop photo printers typically come in 13-inch and 17-inch variants. A 13-inch printer handles up to Super B (13×19 inch) sheets, which is sufficient for most portfolio and exhibition work. If you regularly need larger prints — 17×22 inches, for example — you'll want a 17-inch model like the Epson P900 or Canon PRO-1100. Also consider the types of media the printer supports. Fine art papers, canvas, and thick stock require printers with straight-through paper paths to avoid curling and jamming. Roll media support is a bonus for panoramic or banner-style prints.
The purchase price is only part of the equation. Ink costs for professional photo printers can be substantial — a full set of cartridges for the Epson P900 or Canon PRO-1100 can run hundreds of dollars. Calculate your expected cost per print based on your typical print sizes and volume. If you're printing occasionally, ink costs per print will be higher because some ink is consumed during maintenance cycles to keep nozzles clear. If you're printing frequently and in volume, the per-print cost drops significantly. For pure document printing where photographic quality isn't needed, monochrome laser printers like the Brother HL-L2460DW offer dramatically lower running costs — often just a few cents per page.
A photo printer uses multiple ink channels (often 8 to 12) with specialized black and gray inks to produce smooth tonal gradations, deep blacks, and fine detail in photographic prints. Regular black and white printers — typically monochrome lasers — use a single black toner cartridge optimized for text and basic graphics. While laser printers excel at speed and cost efficiency for documents, they cannot match the tonal subtlety, resolution, or archival quality of a dedicated photo printer for photographic output.
Technically yes, but the results won't compare to a dedicated photo printer. Monochrome laser printers produce black and white images using a single toner color, which limits their ability to render smooth gradients and fine tonal transitions. You'll likely see visible banding, limited shadow detail, and an overall flat appearance. For casual snapshots or reference prints, a laser printer works in a pinch. For anything you'd frame or put in a portfolio, you need an inkjet photo printer with multiple black and gray ink channels.
Pigment ink is generally preferred for black and white photo printing. It offers superior archival longevity (75-200+ years depending on media), better performance on matte and fine art papers, and more neutral gray tones. Dye ink can produce striking blacks on glossy paper and is often less expensive, but prints fade faster and may develop color shifts over time. If you're printing for exhibition, gallery display, or client sales, pigment ink is the standard choice among professional photographers in 2026.
Very important. The more distinct black and gray ink channels a printer has, the smoother your tonal gradations will be. A printer with Photo Black, Matte Black, Gray, and Light Gray inks can produce virtually seamless transitions from shadow to highlight. Fewer channels force the printer to create intermediate tones by dithering — spacing dots apart — which can introduce visible patterns. For serious black and white work, look for printers with at least three black/gray ink channels.
Paper choice has as much impact on your final print as the printer itself. For maximum black density and glossy exhibition prints, use premium glossy or baryta papers from brands like Hahnemühle, Canson, or Epson's own Premium Luster. For a traditional darkroom-like feel, matte fine art papers such as Hahnemühle Photo Rag or Canson Platine Fibre Rag offer beautiful texture and tonal depth. Always use papers that have ICC profiles available for your specific printer to ensure accurate tonal reproduction.
For most photographers, a 13-inch printer is sufficient. It handles prints up to 13×19 inches, which covers standard portfolio sizes and many gallery display needs. You'd want a 17-inch printer if you regularly produce large exhibition prints (17×22 inches), offer large-format prints for sale, or prefer printing panoramic compositions. Keep in mind that 17-inch printers cost more to buy, consume more ink per print, and take up significantly more desk space. Choose based on your actual printing habits rather than aspirational ones.
About Remington May
Remington May is a technology writer and digital product reviewer with a focus on consumer electronics, software, and the everyday tech that shapes how people work and live. She has spent years evaluating smartphones, laptops, smart home devices, and digital tools — approaching each product from the perspective of a practical user rather than a spec-sheet enthusiast. At Pinwords, she covers tech buying guides, product reviews, smartphone and laptop comparisons, and practical how-to guides for getting more out of your devices.
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