Probably I'm giving this too much thought, but I feel compelled to compare the details on these... what the artists chose to alter and leave the same.
In the first one, Clark is carrying his hat and has a rolled up newspaper stuffed into his pocket. Clark is looking straight down, while Superman looms above as an ethereal image (making this one the most directly similar to the John Romita cover, and perhaps the only one conscious of the influence). Skyscrapers jutting up in the background at a "fish-eye" angle; apparently Metropolis exists in the middle of a huge barren desert since Clark is miles away from these buildings and there is nothing between.
(Curt Swan pencils, inker uncertain; probably designed by Carmine Infantino)
In the second, Clark is now actually wearing the hat and still has the rolled up newspaper stuffed in his pocket, though it seems bigger now and juts out at an odd angle. The Sunday edition, perhaps? Clark is angrily walking away and Superman is begging him to stay. The buildings are still there, but smaller, and with lights on at night. There is now a broken down fence behind the pleading Superman, perhaps symbolizing that he will "fall apart" without his secret identity.
(Ross Andru pencils, Mike Esposito inks?; probably re-designed by Infantino)
In the third, Clark and Superman are sad to see each other go but the decision seems mutual. Clark is beginning to put the hat on this time. His fingers resemble "live long and prosper" in Vulcan sign language, indicating he wishes Superman well. This time he has remembered to bring an overcoat and suitcase, although it seems odd he would need to leave his apartment since Superman could live at the Fortress. The newspaper is gone, perhaps appropriate since Clark was now working in television.
(Nick Cardy art; still designed by Infantino?)
In the fourth, Clark and Superman both appear angry. Clark is now wearing the overcoat and has just put the hat on, and has traded the suitcase for a slimmer briefcase. He is so angry that he seems to have thrown the newspaper to the ground, scattering the pages all over the street. Superman appears via a large television image in the darkness. He would seem to be rejecting Clark, but notice the pose he has adopted; an imitation of the old army recruitment posters featuring Uncle Sam, which said I WANT YOU. Superman's body language is telling Clark he still wants him.
(Klaus Janson art; possibly Ed Hannigan design based on Infantino?)
In the fifth, the idea is similar but most of the details different and Superman appears to be rejecting his costume rather than Clark rejecting Superman. The use of heat vision rules out this being Clark destroying the costume, so it must be Superman adopting a darker persona. Is this actually an homage to some earlier cover featuring Superman destroying his uniform? Can anyone recall such a design?
Perhaps the Infantino / Romita influence was mutual. This cover of THE FLASH #159 is dated March 1966. There is a sunset in the background, as on the Romita cover, also notice Barry Allen is carrying a suitcase and even putting on a hat!
http://www.milehighcomics.com/cgi-bin/backissue.cgi?action=fullsize&issue=32488651314%20159
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