Here are some things that will lend professionalism to your images.
The images are high-quality. The focus is optimal. The noise is minimal. The contrast is optimal with pure neutral highlights and no overall colour cast. The exposure is perfect*.
You are shooting a portrait of the product, in effect. You want the subject to look attractive.
The subject looks three-dimensional and vivid. The lighting is not flat and uninteresting. The subject has an interesting and attractive position. (Pick your lightbox up, off the floor, and position it high enough so that you can shoot the subject at "eye level" or slightly below (Camera inferior position) so that you "look up" to the subject.
Set-up 1 looks the most promising at this point; start with that. Move one of the lights a slightly different distance from the tent than the other by about half a foot to give one side a slightly lower value to make it look "rounder and three-dimensional." Instead of the spray head staring directly at the camera like a mug-shot, treat it more like a portrait. Have your "subject" look to one side so that it's not so confrontational. Find a nice pose for your subject.
Now, you're ready to begin the adjustment of the lights to get the lighting effect you want. The closer the light is to the tent, the harder the shadows will be. Make adjustments. Keep the distances slightly different to get the roundness you want.
When you've got the right camera height and angle, use a white card large enough to cover the entire front of the tent. Cut a hole in it and shoot through the hole so that broad reflected light illuminates the front of the subject.
Try a range of exposures to "nail" the cap, bottle, and background exposure. Make adjustments to the lighting. If the tent prevents you from getting the effect you strive to achieve, trash the setup and improvise. The goal is to get the shot not give up because the circumstances don't go your way. You're a pro, now.
TIP: In advertising, we cheat. We'll use a composite of several shots combined to make a perfect subject. Each shot optimizes one component of the package.
*The exposure has a few components. The transparent cover and aerosol cap is high value and wants to be white but not glaring-that's one exposure. The background wants to be peak white to drop out the subject-that's another exposure. (Why, if you are going to use it close-cut?). Lastly, there's the special sauce in the bottle. When you determine what's most important, you'll make adjustments to show that to best advantage.
As your subject is small, you can move reflectors quite close to get the effect you want. Play. Experiment a bit. You're going to close-cut the subject from the background, anyway. Either way, iron or steam the fold from the background; it looks shabby. If the fold shows through the liquid, there's more work to do to make the subject look clean. The background should be featureless for this type of shot, no matter the colour chosen.