Emanuele's ideal portrait is the visual archetype of the Romantic genius: the heads turned away, the dreamy expression or the mocking aristocratic eyes, the masculin throat or the female bare napes exposed by pinned-up hair.
His portraiture flourishes especially among friends, whereas the exaltation of masculinity is established with strangers who arouse an implicit radiation of sexual danger. Like the other romantics, he makes photography out of the incidents of his own life, but also identifying on those subject that would attract his contemporaries.
He concentrates on a quiet psychological penetration of character. A portraiture that requires the artistic rendering of inner landscapes, of interiority.
Nature is the second main character of Emanuele's opera, often portrayed as a 'spirit of place', more rarely as a view. He first records locations as precise topography, but eventually transforming them into places of pure vision and symbolic atmosphere.