Rod Serling's Twilight Zone episode would portray Rome's juxtaposition of political power and religious belief as an eerie story. Neither is separated, as they used their influence to build and extend their reach. Constantine and Theodosius laid the groundwork for the symbiosis that continues to exude its presence among the structural remains sprawling across Rome's classical metropolis. 

      Today, Rome's visitors are in awe of magnificent architectural remains that showcase triumphal arches, self-supported domes, and elegant architectural works. Their building remains attentive to marvels of construction and commemorative structures. Many wonder about the construction methods, even when they are in plain view evident.

    Nevertheless, as spectators wanting to record memorable visual insights, innumerable graphic options abound. There are social captions, remarkable recordings, evidential portrays, and carefully crafted graphics that seek to surmount the technological aim and shoot kind. 

    Photographing Rome is a repeated act by thousands. Just like I did, however, to dive away from the aim-and-shoot kind of work, finding a personal take is crucial. Finding one that draws in the perennial awe, intentions, and one's unique stamp is pivotal. Coining the  Roman iconography must allow the scrutiny of past graphical takes to avoid duplication.

     During the six days, I took about a thousand photographs. Eight Roman sites appeared through the viewfinder; all were subject to objective graphic review. Their placement sought to tell a story about textures, structures, proportions, and inevitable group interactions with the historical remains. 

     The four samples selected seek to be unified by a sole photographic trait, as capturing different sites with the same atmospheric phenomena is improvable. The phenomena intend to gently and incessantly persuade viewers to accept it as graphic parallelism.