A sure way to turn a friend into an enemy.

Bad answer, especially if your going to be their only photographer.
Favor or not people are going to expect an incredible amount of skill
on your part, if your the only photographer.

Aside from all the responses concerning lights, appropriate cameras....
whether you are able,... etc consider how your going to evenly light the
whole bridal parties faces without shadows.

Consider what you would do as the bride comes down the
aisle and your flash does not fire. Consider what you will
do when none of the people are ready or are milling around
waiting for you to set up to do what seems like endless
amounts of group pictures. (Are you good at getting people to cooperate)?
Read your reply below again. Think about how you will deal with
those people if you have problems and your gear doesn't cooperate.

Consider what you will do when you run out of film or are close to
the film roll end and realize you have too few frames left for the
next sequential series of pictures that surpasses the frames you have...
at the very least you need two cameras and two flashes,...if you are the
primary photographer.

Are you the primary photographer?  If you are, make up a list of
specific shots you want to get.  There is a sample list at
http://www.weddingtips.com/the-list-photo.html which may help you. Be
sure to talk to the Bride and Groom to see what photos they would like.

The shots you need will determine which lens you use.  Although, I'd use
a 28-105mm as the primary, with your 100-300mm for a few specialty focus
shots.  For most shots, I'd suggest using Aperture Priority to keep the
DOF small to reduce annoying background elements.

The lighting will determine what film and filters you use, and if you
use the flash.  I'd prefer not using the flash, as is can be a little
distracting.  You won't see the flash because of the mirror blackout,
but everybody else does.  If you do elect to use the flash, a diffuser
is highly recommended.

Time will be your enemy during the wedding, especially when you need to
reload the film or change lenses. Keep a few rolls with you, and the
rest easily accessible in your bag (wherever you put it).  If you have
another camera body, that will be a big help.

Study up on group poses, and scout out locations around the wedding or
reception sites when you arrive for a good location for the posed
portraits.  Talk to the B&G before the wedding to see when they want to
do the group portraits, most prefer right after the ceremony before the
reception.

For indoor weddings, work with the B&G and the staff of the
building/church to see what lights will be used.  Some locations may
have stage lighting or spotlights.  Used carefully, these can be
helpful.  If you use your flash, is it powerful enough to bounce off the
ceiling or walls?  If so, what color paint is used, as it will affect
the color of the bounced light.

For outdoor weddings, will the wedding be under any shade?  Direct
sunlight will produce hard, un-appealing shadows.  Fill-flash would be
the easiest way to solve this, although shade would be preferable.  A
gazebo usually makes the nicest location for outdoor shade.  If you're
lucky, the outdoor weddings will be partly cloudy, giving plenty of soft
light, without hard shadows.  For the posed shots, you can use a
reflector, but you won't be able to use a reflector for the majority of
the shots.

There are a lot of tips on the internet for wedding photography, just
search on your favorite search engine.

Finally, a word of warning: Wedding photography is tricky and emotional.
If you mess it up, that's what will be remembered: that you messed up
their wedding memories. However, if you can do a good job, they will be
forever grateful. That's what Randall was trying to tell you.

Hi Marisa,

The two previous responses a gently saying that weddings are so
important to the participants that botched pictures are not an
acceptable risk.  Weddings really need someone who does not have to ask
these questions, someone who has worked previously as an assistant to a
professional wedding photographer.

If you are not familiar with lighting, then you probably should not be
shooting the wedding.  Lighting is one of the most important issues.  A
wedding deserves off-camera lighting attended by an assistant.  Given
the need to move around, wireless communication between the camera and
lights would be preferable.  Go to a photo supply store, rent some
lighting, and go to the church a couple weeks in advance and take some
pictures to learn what you need to do at the wedding.

Really good lighting allows you to use slower film, get greater depth of
field (as you can stop down the aperture) and higher quality images.  
Never underestimate the importance of the lighting.  Example:  
Photographer A shoots a scene with powerful off the camera lights.  The
background is lit, there is no red eye and the subjects are not
overly-contrasty.  Photographer B shoots the same scene with an
on-camera light only.  The background is black or just a grissly brown,
there is red eye everywhere, and the faces of the subjects are glaringly
lacking in color.  Your Proflash will not do the job.

I have repeatedly declared in this newsgroup that I do not consider 35
mm the format of choice for weddings.  Weddings photographers I know all
prefer 6x6 medium format - and the Mamiya C30 in particular.  You get 3x
the surface area on the film, and that can make up for a lot of errors
itself.

Whatever the format, you need at least two camera bodies, so that your
assistant can be taking out exposed film and loading fresh film while
you continue to shoot.   All this while the assistant is adjusting the
lighting.,  Note, your assistant should expect to work hard that day.

Whatever the camera, don't use a program to determine the aperture and
shutter speed.  Your brain has to decide if the depth of field is going
to be narrow or wide, whether elimination of movement is more important
than depth of field.  If you leave it to the computer you will probably
have fast shutter speeds and narrow depths of field.

Optics are critical.  I doubt either of your lenses open up wide enough
to accommodate a dark church.   What do they open up to? f/3.5?  Prime
lenses are better than zoom lenses at accommodating weak lighting
conditions. For instance, f/2.0 or f/1.4.   The Nikon will have good
optics, but the Quantaray?  The Japanese were the first to use the term
"bokeh" - it means the quality of the out of focus image.  This
determines the acceptability of an image. If the out of focus part goes
into a doubte or blurred image, that is bad.  If it gently softens that
is good.  You need to study the images you have made with the Quantaray
to see if it is useable for this critical situation.

Then there is the choice of film.   .......

Read a book of wedding photography.

Francis A. Miniter

       Well, there's a couple of issues that come up with a post like yours.
The primary one is, you haven't asked any specific questions, but in
essence an essay question about wedding photography in general. This is a
bit like saying "How do I raise kids?" Better off if you pick a specific
topic and deal with that.

       If you can't narrow it down to a specific topic, there's no really
good place to start, and it leads one to assume that you'll need to be told
*everything*. In such a case, you're not likely to learn enough from a
newsgroup post to make you an effective wedding photographer for a shoot
you've already booked. Wedding photography is a field teeming with
pitfalls, so the chances become very high indeed that you'll get caught by
at least one, if not quite a few. And when it comes to the emotional value
that is typically placed on wedding photos, the blowback you're likely to
receive could be significant - lawsuits happen more often than people like
to believe.

       And a second issue is, there's no "right" way to go about it.
Different photographers have different approaches, many tailored to the
individual locales that they work and the clientele they're likely to
encounter. For instance, having shot numerous weddings on strictly 35mm
film, I disagree entirely with Fracis Miniter - if the client buys it, 35mm
works fine. And for approaches like photojournalism and candids it can't be
beat.

       Style is all your own, and that's part of the package you sell. This
includes what you use for lighting and the films you prefer. So without
even an indication of that, again, it's hard to point you in a good
direction. A large family formal in a big church takes a whole different
approach from a B&W bridal shot by a window on the stairs.

       So narrow it down a bit more, and in the meantime, hit
http://www.aljacobs.com/welcome.htm and scroll down to weddings. He doesn't
cover everything, and neither will anybody else, but it's a good start.

       Good luck!

    - Al.

I second that thought. However nothing says that Marissa
can't be or become that person.