I was mentoring a younger photographer who was hellbent on being an architectural photographer. I have no interest in architecture beyond hoping that architects concentrate on making the buildings and houses that I must look at everyday.....pleasant and interesting. I'm not at all into conceptual architecture but happy when it only exists in plans.
At any rate, I've done at least several hundred assignments for magazines, home builders and industrial builders, documenting the interiors and exteriors of all kinds of structures. For nearly everyone of those assignments I used a some kind of 4x5 inch view cameras and had mostly mastered the quick use of front and rear standard rises and falls. Almost all the assignments were done on film.
So I was showing the photographer how and why to use the rise on his tilt/shift lens and we started talking about a job he'd just done. He was a bit miffed with the results because the house he was assigned to photograph could only be done on a specific day, and that day had been plagued with a bald, ozone-y sky. The light on the house was fine but the sky was a whitish-gray mess.
I suggested that he just grab a good sky from his files and drop it in behind the house. This is the age of PhotoShop, after all. He didn't have a "sky' folder. He immediately went into male photographer problem solving mode = (Google) and started looking for stock skies. I just shook my head.
I think every working, commercial, professional photographer; no matter what their specialty, should have a folder on their computer that's filled to the brim with high res shots of skies. Morning skies, evening skies, big Texas Cloud skies, glowering thunderhead skies, high/thin/cloud skies and every other sky you can think of. In fact, when I'm out roaming around and I see a rich, blue Texas sky dotted with dramatic white clouds I can't grab my camera and a normal (or slightly wide) lens quickly enough.
This is not just advice for architecture photographers; I drop in backgrounds if I'm doing a portrait in an office that has a spectacular view that just hasn't materialized during my shoot.
If you don't already have a sky file you probably need one and now is a great time to start. It will come in handy. Eventually you'll have an emergency sky for every occasion. We still try to get every photograph just right, in the camera, but schedules, clients, weather and bad view angles sometimes frustrate our best intentions. Dip into the file, make a new layer and fix things up.
Just remember to match the saturation of the sky to the rest of the file and to toss the sky layer out of focus if it makes logical sense.
Several years later the younger photographer dropped by for a visit. I reviewed at his portfolio. It looked great. He told me that half the images in his "book" were made with dropped-in skies and the other half were shot as straight. To his credit I could not tell which was which. He thanked me profusely and we both went outside to see if there was any sky worth shooting.....
I'm going to bet that if we measured the space Lou takes up in the frame and subtracted it from the total area of the photograph that the subject area, and the area for the rest of the frame, would be close to a 50:50, balanced split. Somehow I think this works. It's fun when you try for a compositional effect and it actually works...