A front-feeding tray is also supplied for printing directly onto white-faced CDs, DVDs and Blu-ray discs, as well as for using specialist media like Canon’s stick-on printable fingernail covers. Both printers have a dedicated ‘Black and White Photo’ print mode for enhanced mono quality.įurther similarities include onboard controls based around a 3-inch color LCD screen, an automatic, upright sheet feeder at the rear, under which there’s a manual feed tray that’s more ideal for thicker fine art media and panoramic or banner printing on cut sheets, up to 39 inches (990.6cm) in length. New gamut mapping models are also employed to ensure the best match between what you see on screen and what you get in print. Both have an upgraded OIG System (Optimum Image Generating System) that works out the best combination of inks to use for every color and tone, on the fly, with great speed and precision. The PRO-200 looks almost identical to Canon’s latest imagePROGRAF PRO-300 pigment-based A3+/13-inch printer and, indeed, there are many similarities between the two. Higher density black is also on tap, enabling really rich lowlights in both color and mono photo prints. The new set of inks have been reformulated to further increase the gamut, especially in the magenta, red and blue sectors, along with improving color reproduction in dark areas. As such, it outstrips a conventional six-ink photo printer, delivering a more generous gamut (or color space) for color printing, as well as greater tonal range for mono photo printing, with the promise of banishing unwanted color casts. The color line-up is nominally the same as that of the older PRO-100S, consisting of eight dye based inks including cyan, photo cyan, magenta, photo magenta, yellow, black, grey and light grey. (Image credit: Matthew Richards/Digital Camera World)įor outright print quality, the headline upgrade in the PRO-200 is that it has a new and improved range of inks.
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