no! it is not 40%! why do you talk so confidently about things you don't even research on your own???

we have to defeat fascism now, and the only way to do that is give more power to the united states federal government

as far as labeling the transformations, prime-ing them (P', R', L') could work. the L-type still feels strange though, maybe calling it S' has some logic to it?
thanks for exploring harmony with me! send any resources that discuss this my way. the set theorists have surely covered this to death. :)

just try appropriate min <-> dim substitutions in various situations and see what works! neat case:
common-tone dim7 substitution for G7 is D°7, whose triad is relative of Fm. we can use Fm6 to highlight an enharmonic link to the rel dim. Fm6 to C is a well known "mirror" of G7 in negative harmony!

extend the diminished triad not just with a minor 7th, but fully, and expand your field of relative transformations with the versatility of the °7 chord. D°7 ≈ F°7 ≈ Ab°7 ≈ Cb°7. this introduces so many connections, it's easy to get carried away here. hey... F° from the P transform is here again!

in a major scale context, the chain from major to minor to diminished has a lydian - dorian - locrian flavor. the extensions needed to demonstrate enharmonicity reveal this particularly well: m6 is distinctly dorian! it shows up in harmonic and asc.melodic minor with the right extensions too though.

the symmetry of diminished chords just causes a divergence from the exact relationships we see between major and minor (both asymmetric in structure in particular ways that can link them). there are links between minor and diminished chords, as has been shown, we just don't get the Tonnetz from them

while the other two transformations altered the fifth, this one raises/lowers the root and third. it looks like F minor <-> F# diminished.
F <-> F#
Ab <-> A
C <-> C
it's weird. it reminds me more of an NRT Slide transformation, and is similarly like an opposite P. but... this is the best we can do.

unfortunately, the L-type is where it goes awry. there aren't any more than 2 diminished triads that share 2 common tones with a given minor triad. there is a remaining transformation option with minimal movement, but it breaks the symmetry, requiring moving two notes by a semitone each.