Kanemitsu stands in the direct main line (chakuryū) of the school, succeeding Kagemitsu as the principal heir of the lineage that begins with Mitsutada in the mid- period and passes through Nagamitsu and Kagemitsu. He is traditionally regarded as a son of Kagemitsu. Extant dated works by Kanemitsu span a remarkably long period of approximately forty-five to fifty years, from Genkō 1 at the end of the period through the era in the mid- period. Because this production span covers so extensive a period, some scholars have advanced theories positing an initial and a second generation working under the name, while others maintain a single-generation interpretation; the question remains a matter inviting further study. In his works up to around the Kōei era in the early period, both and generally display orthodox proportions, and overall these pieces convey a strong sense of continuity with the manner of his father Kagemitsu. From around the Jōwa and Kannō eras onward, however, the becomes large and imposing, and a previously unseen -dominant emerges, frequently encountered around the Bunna and Enbun eras. Because the is also emphasized in this later manner, it is known in the world as Sōden-Bizen.
The early-phase tempering tends either toward a -based style mixed with , or toward in a -like manner. These works closely resemble the production of Kagemitsu and reflect an inherited orthodox sensibility. From the Jōwa and Kannō eras, Kanemitsu's blade forms take on the grand and robust characteristic of the period — wide with little difference between base and tip width, shallow , and boldly formed . The shifts to a broad, relaxed mixed with , , angular elements, and occasionally , with and entering vigorously. The work is predominantly or with adhering, and fine and run throughout. The is characteristically bright and clear. The shows mixed with , with extremely fine adhering thickly, delicate , and vivid standing out — the steel described repeatedly as bright and clear (). The typically enters in , often becoming pointed with , and turns back in a manner that projects considerable strength. A further distinguishing feature is the orderly composition of and running in sequence from base to tip, a construction the identifies as among Kanemitsu's particular strengths. of appear frequently, and the "grass" carving is noted as something occasionally encountered among the -period mainline, particularly on works by Kanemitsu and Tomomitsu.
Across the literature, Kanemitsu is consistently credited with having pioneered among craftsmen the broad, unforced -based that defines the mature idiom. His expressive range is described as wide, spanning from the disciplined of the early phase to the expansive, unhurried of the Enbun and Jōji years. The recurring evaluative language emphasizes that both and are — sound and well-preserved — and that the tightly forged , befitting the orthodox main line, displays excellent-quality forging. His finest works are praised as possessing commanding dignity, great forcefulness, and a refined, orderly coherence. The repeatedly characterizes superior examples as demonstrating the smith's full capability without reservation, noting that the relaxed temper harmonizes superbly with the bold to produce a masterwork of the highest order.