The film producer Orian Williams first encountered photography through his stepfather Ken Martin, an oil man whose camera and whose darkroom, the enigmatic room where a photograph slowly emerges from chemicals, paper and dim red light, left a lasting mark on him. On early-morning drives from Houston to the family's lake house, with Ken, his camera and often Williams himself as the subject, he discovered a new visual perspective; his mother, meanwhile, set about documenting his life at every turn. As a teenager working at a Houston record store he discovered NME and Sounds and the photographer Anton Corbijn, whose image of Joy Division, the band facing away from the camera except Ian Curtis, haunted him and later led him to ask Corbijn to direct Control. Williams habitually carried a camera among friends, sneaking simple point-and-shoot cameras into concerts to capture the ambiance as a visual stand-in for a ticket stub, and later used the iPhone in the same spirit, always trying to encapsulate the essence of a moment. At twenty-one he inherited Ken's photographic equipment, and every image in B-Sides carries that feeling, along with a narrative that leads up to and records the emotional aftermath of a spontaneous moment, driven by the wish to live forever in it.