Dave, For weddings I use Portra 160NC or 400NC. The 400 will sometimes give you just a little more ambient room light, which looks better than the person standing in the dark type of shot.
At weddings you are really looking for flesh tones and low contrast due to dark/black tuxes and white wedding dress. From the Kodak camp Portra NC is the preferred wedding film. Fuji has pretty similar films too. I have found that it has as much to do with the lab as anything. Find out what film your lab prefers (Kodak Portra or Fuji NPxxxx) and go with that. Bruce Tuesday, December 3, 2002, 9:43:07 PM, you wrote: bcin> Thanks Bruce. bcin> I quess what i meant by "True" was having the lens in bcin> A setting and let the camera do its thing.Poor choice of a bcin> word i quess. bcin> From what i saw with the M lens the flash/camera seemed to do what bcin> its supposed to.They were junk shots but looked fine. bcin> Any thoughts on the film.I am humming between Portra 160 VC or Nc or Kodak RG 200. bcin> Dave bcin> > David, >> >> It seems you are confused about the TTL. I'm not sure what you mean >> by "True". Basically TTL means that the camera body meters the film >> plane for correct exposure and turns the flash off when there is >> enough. The big advantage is that you can choose any f-stop you want >> within the power range of the flash. Using an A lens on A setting >> will only accomplish the camera setting the f-stop for you. The net >> difference of using an A lens set to 5.6 and an M lens set to 5.6 is >> nothing. Of course, letting the camera set the aperture for you >> somewhat defeats the reason for TTL. You could have just as easily >> use the flash's sensor in A mode. >> >> So, in summary, you don't need any A lenses to get TTL benefit. Pick >> your F-stop and go for it. >> >> >> Bruce >> >> >>
