We still don't have any real info about what you plan to do, nor do we know anything about the amount of space that you have available....
Assuming that you want to produce images that sell products, and that some of those products are shiny (you mentioned a washing machine) then you will need very large light sources for each visible reflective surface, and a washing machine photographed at a typical 3/4 angle will have 3 visible surfaces, front, one side and top. Highly skilled product photographers who have loads of space can use (or make) various large light sources, but the simplest answer is to get large softboxes. These come in various shapes and sizes, in a perfect world they will be at least 3x the size of the subject, and positioned very close, they then tend to get in the way of both the photographer and each other, so they need to be rectangular, for example this strip softbox, which although not the ideal shape for everything, would be a good compromise, so perhaps 3 or these
http://www.lencarta.com/all-products/softboxes/30x140cm-stripbox-profold-folding-strip-softbox2 of perhaps 2 of them, plus one of these smaller square ones
http://www.lencarta.com/all-products/softboxes/s-fit-85x85cm-redline-pro-chiaro-softbox.
Everything you need to know about photographing shiny subjects is covered in this tutorial, it's a very different subject but the principles are identical
https://www.lencarta.com/studio-lighting-blog/controlling-specular-reflections/#.VjzW6ysl-hE and this one is also probably relevant
https://www.lencarta.com/studio-lighting-blog/snookered/
For subjects that have a texture that needs to be shown, we avoid the soft lighting produced by softboxes and go for hard, directional lighting instead, this normally requires honeycombs (grids in Americanese) that allow light to be skimmed across surfaces. They come in various 'strengths' and I normally use the tight, 10 degree one the most. One of these is normally enough
http://www.lencarta.com/all-product...-reflector-10-degree-universal-honeycomb-grid
Again, there are tutorials explaining this, this one is possibly the most useful
https://www.lencarta.com/studio-lig...oduct-shot-how-and-why-i-did-it/#.VkC7gSsl-hE
Often though, we need to combine soft lighting and hard lighting, and regardless of the type of lighting, we always start with one light and then add other lights, reflectors, absorbers and what have you, if and when necessary - all is explained here
https://www.lencarta.com/studio-lighting-blog/tutorial-building-up-the-light/#.VyC_pnqGN-s
and here
https://www.lencarta.com/studio-lighting-blog/tutorial-building-up-the-light/#.VyC_pnqGN-s
and here
https://www.lencarta.com/studio-lighting-blog/combining-lighting-techniques-part-2/#.UAB4WZH5-So
You'll see from these tutorials that a boom arm, which positions a light overhead, is indispensable. This offers the best value and is fine for almost everything
http://www.lencarta.com/all-products/light-stands-boom-arms/studio-boom-arm-with-casters
You'll need flash heads too, I've left these until last because although they are essential, it's the modifiers mentioned about that are the most important, and (almost) any flash heads will do. You will definately need 3, maybe add a 4th later. The SmartFlash 4 is perfect for the job, there's no point in spending more money to get a higher spec that you will never need. Sorry about the quality of the photos, I didn't take them...
http://www.lencarta.com/all-products/flash-heads/smartflash-300w-studio-flash-head
There is supposed to be a Lencarta kitbuilder on their website, but it seems to have gone missing, so best to give them a ring and ask them to price everything up, including the lighting stands that will also be needed - other suppliers are of course available, but I used to work with Lencarta and I like them.
