I was in Chicago working when I got an email from my agent Paige on Friday telling me about this job. I flew home on Monday and headed right back to the airport on Wednesday. From that first email to shooting in Phoenix, we had less than a week.

The shoot was for the Nike Book 2, Devin's second collaboration with Nike and Chevy. It's a four-shoe collection, and each shoe is inspired by one of the vintage Impalas in his collection, with matching paint colors and details like tongues that echo each car's hood ornament. Last year's Book 1 was inspired by his classic Blazers.

The first shoe, the "Pretty Penny," takes its colors from his 1959 Impala convertible, the car that started his classic car obsession. Her name is Penny, and she was the star of our show.

Phoenix in August is no joke! I landed in the morning, picked up our rental car and headed out to meet the Chevy team. Our location was Devin Booker's office and car garage, and it was easily one of the craziest and nicest places I've ever been. Setting aside the classic cars, the office part was beautiful too. I can't show you much of it because there are top secret projects displayed on those walls, but trust me, it was very, very cool.

On the scout we did some light and camera tests. I came in thinking I'd go for an on-camera flash look, but after a few test frames I realized it wasn't the vibe. Luckily there was a rental house not too far away, so I called in an order for some grip and Aperture gear.

When we wrapped the scout, my assistant Chiara and I headed to pick up the gear, but we made a stop at the mall first. We were both in the middle of traveling (I was coming from Chicago and she was on a road trip) and neither of us had all black to wear on shoot day. For those who don't know, all black is the way to go when you're shooting reflective surfaces like a car. So we hit the mall, grabbed some matching black outfits, and then picked up the equipment.

It was already 100 degrees by 9am. Phoenix is gnarly in the summer! We all arrived at Devin's office early, and we had about four hours to set up, pre-light and get ready for him. We were only shooting in two spots, outside for video and inside for stills, but I knew we'd use every second of those four hours.

I lit the interior with a mix of two Aperture 600c and two 80c lights. The 600cs brought up the ambient exposure in the garage, and the 80cs were my key lights. I mounted both 80cs on one roller stand, one to light Devin's face and the other to light his shoes. With the 600c lightdome filling things in, the shadows never got too deep even with the keys spread out like that. We also mounted an iPad to the stand so Chiara could see each frame as it came in and make sure the light was dialed in for every shot.