The 35mm lens will have a FFE of 52.5mm. Focal length doesn’t change.

What’s really happening is “focal length” is being used as a proxy for “angle of view”. So the 35mm lens on crop sensor has the same angle of view as a 50mm lens on full frame, which is about 40˚. People relate to 50mm more easily than 40˚.

It actually goes further: a 50mm lens on full frame is about the same as a 150mm lens on 4x5, a 210mm on 5x7 and a 300mm lens on 8x10. On each of those formats the angle of view is about the same so the picture will turn out with about the same framing.

Please make a blog and share your journey so others can follow in your footsteps, not make the same mistakes, can learn all the shortcuts and save time (and heartache!) by not having to work it all out for themselves!

It was clear from the start she wanted the photos for cheap but wanted many to choose from…

I just need advise. How do you go about these kinds of clients?

Don’t take them on.

I know wedding photography might be out as an option just cause I need some high quality gear for it.

Wedding photography isn’t about high quality gear, it’s about delivering the results. That can include image quality - but most cameras are good enough -however it’s mostly about reliability, particularly with memory card storage. Most pro gear has multiple card slots to ensure that the images aren’t lost if one card fails. Because as a pro, you need to deliver the goods. Photographers have been forced to pay for re-shoots, including venue hire, because they cannot just say sorry and give the clients a refund.

What I’m suggesting is to set your defaults so the camera jpegs are client-ready without any post editing. Get them off the card and deliver. If you want to make decent money you need to be smart about how much time you spend on a job. Photographing for a couple of hours and editing for a couple more means you have halved your productivity: you could have been out photographing.

Depends on what you mean by “edit”. If it was me I’d get a workflow that produces sufficient quality jpegs straight out of the camera, or I’d be aiming for that. If you frequently need to adjust exposure, contrast, colour, sharpness then you need to be improving your technique.

A good way to begin is to look at good photographs of whatever you want to do, work out what makes them good, then work out how to achieve that yourself. It’s an iterative process so give yourself time.

Some of “what makes the photographs good” might be related to equipment: if, say, you like the close-and-personal photographs of athletes then you’re going to need access to a good position, a long lens to get tight framing, or both. Sports and bird/wildlife are two specialisations where equipment really does matter and there isn’t a cheap alternative to the big long fast lenses the pros use.