I am not an engineer. As such, I would NOT be willing to get into an airplane that I designed and built by myself (because I'm pretty sure I know how it would end). A wedding shot by someone who didn't get training and experience would not end well either.
Weddings are technical. They require solid equipment and a heavily experienced photography. As has already been mentioned the big "problem" with weddings is there's no picture-retake day. Everything has to right the first time.
I used to shoot weddings before the era of digital -- using 100 ASA film and a medium format body with a single lens (no zoom). BUT...we heavily supplemented the lighting and since the use of flash is not permitted during the ceremony, many significant shots were actually re-enacted immediately following the ceremony (exchange of rings, etc.) Today, however, the right equipment can capture those shots as they happen and not need flash. But this relies on the advancements of the latest sensors (the 40D sensor is _very_ old.)
As for the lenses... they're all consumer grade (entry level) lenses ... but not appropriate for weddings.
The classic wedding kit consists of:
(1) a full frame body (e.g. a 5D II or 5D III or even a 6D if using Canon gear.) You can use a crop-frame body but it should be a newer body with better ISO performance.
(2) a 24-70 f/2.8L USM (I or II) (on a crop-frame body use the EF-S 17-55mm f/2.8 IS USM)
(3) a 70-200mm f/2.8L IS USM (I or II)
(4) at least ONE (but preferably two) high-end flash units capable of working off-camera (e.g. using wireless triggers and preferably radio technology.)
I consider the above list to be an absolute minimum. Note that the the above lenses I mentioned happen to be able to provide f/2.8 focal ratios at all focal lengths (that's a minimum). You can also use prime lenses because of their low focal ratios. Some primes are particularly attractive such as the 85mm f/1.2.L. The lower the focal ratio of the lens... the more light it collects when the shutter is open (but also the narrower the depth-of-field.)
Also... since there is no opportunity to re-take shots, backup gear is essential. We certainly hope we don't need it... but if for some reason we do need it, it had better be there (no excuses.) I would never do a wedding without backup cameras, lenses, lighting, etc. If it can break then it's just a matter of time before it eventually will break and you have be prepared for that to happen at the worst possible time.
There's also a lot to the "art" of photography in the wedding. This is the creative element. While we love to say that creativity doesn't require training... the fact is, it does require training. Our creativity isn't optimal until we practice a lot. Regardless of how creative a person things they may be... when they do something with a lot of repetition, their brain tends to learn techniques and patterns that work well -- that would never have been learned without the repetition. You'll need to learn to modeling skills and posing techniques, compositional skills, lighting skills, etc.
Although you might not realize it, an experienced wedding photographer has a mental shot-list in their head. They know the flow of the event. They know what shots are coming next. But they also know what exposures work well for that next shot and they pre-set the camera to be ready for it. What the guests "see" is a photographer lifting the camera to their eye and shooting -- it looks easy. What the guests don't realize is that the photographer expected it and got ready for it before it happened.
Weddings are very technical. It's like participating in a sport... you'll need both good gear and a lot of training and practice to win. There is no bypassing all the training and practice.
The gear you have will certainly help you start to learn basics... exposure, composition, etc. but they won't perform well in a real wedding. With the exception of outdoor daytime weddings (which have a different set of challenges), indoor weddings tend to be performed in very poorly lit venues -- both the wedding and the reception. Low focal-ratio lenses and camera bodies that can shoot at high ISO with low noise (and without needing flash) are essential.
I'm not trying to discourage you from shooting weddings... but I am trying to discourage you from shooting weddings with your current gear and experience level. If you get along well with others, it's hard to upset you (you will run into a LOT of personality types for clients and many will be unreasonable and difficult to work with), if you're enthusiastic, believe you can bring out the best in others (you have to create a positive mood to get your subjects to respond to the camera in a genuine way -- the camera will know if the subject is actually having a good time... or merely pretending to have a good time because they were told to smile), and you have to the motivation and follow-through to put in the time to learn the technical skills and hone your creative abilities while also doing the not so exciting behind-the-scenes work of running a successful business... then you should go for it.
I worked as an apprentice to a professional wedding and portrait photographer for years before I was ever permitted to use the camera with an actual client (and then only to shoot the candids at the reception.) This did progress to where I was entrusted with more important shots and ultimately I was confident in my ability to shoot a wedding on my own. If you do want to get into wedding photography, in addition to training, I'd encourage you to work as an assistant and eventually as a 2nd shooter to learn the field. Be patient and be passionate.
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