Still life is certainly one of the hardest genres of photography, since in most cases literally everything in the image owes its presence and treatment to the mind of the photographer; the point is usually to create an [arrangement that is visually rewarding for its own sake, as opposed to illustrating something (face, tree, building, nude body...) that is intrinsically engaging. Compared to this problem, the logistics are relatively simple if you have enough room to work. For 8x10, lenses in the 300-360 mm range are suitable, although if you want even better perspective you will need a somewhat longer lens, much longer bellows, and a lot of elbow room. It is nice to be able to leave the setup in place while developing and proofing the film, so that you can iterate instead of doing a lot of bracketing (at $3+ per sheet...) but this is not essential.

Lighting can be fairly simple---one or two sources plus reflectors--because by definition nothing is going to move ("still" as opposed to quick, meaning dead as opposed to alive) but you will probably have to master reciprocity failure correction along with bellows extension factors.

Personally, I confine myself to table-top sized setups using cheap fabrics for backdrops and draping; I have an assortment of wooden blocks and other objects for use as risers and supports. I collect interesting artifacts (rocks, glassware, tools, costume jewelry...) just for photography, but my favorite subjects are pears, onions, and leaves. I like the forms and textures, and they are conveniently scaled to the size of my working space.

Good luck; it isn't trivial, but few worthwhile things are.