[3][4] Her works are also held at the Biblioteque Nationale in Paris, the Center for Creative Photography in Tucson, and the Oakland Museum of California.
": 212 [8] Critic Hal Fischer described the effect of her efforts as being "temporally disjunctive," calling her a "contemporary photographer with a 19th-century attitude.
Writing about the catalogue for that exhibit, The New York Times described Skoff's contributions to the show as "pictures with arbitrary and whimsical colors" that are "removed from the veneration of the landscape one finds in Adams and Porter.
"[10] Of Skoff's hand-colored landscape photos, Jussim and Lindquist-Cock raise the question "what degree of color manipulation removes a print from 'photography' and places it in 'graphic arts.
Writing about the exhibit for The New York Times, Vivien Raynor described "Utah", which she called the best of Skoff's three entries, as "crackled like the surfaces of old paintings... a metaphor for human flesh by the addition of rose pink and highlights of silver grey.
"[12] Hal Fischer said that her Utah landscapes "[achieve] a form that is startlingly modern, bringing to mind the unrealities of NASA's satellite pictures of earth.
[16] A review of Lynch's book Inspiring Thirst notes the "evocative black-and-white photography of the French and Italian vignerons, vineyards, landscapes and food.