Spectral Sensitivities of your sensor/lens combination have more of an effect on how much processing is done to an image before a jpeg or raw file is created. Today's camera's process the file for the look your desire given the camera profile (depends on brand). So camera manufacturers measure the spectral sensitivities of their sensors and create those profiles. We can do the same if we have access to some highly calibrated technical tools and have the programming abilities to create ICC profiles.
Reviewing your graphs, I can see you may have some mis-information. First let's start with relative human vision:
So these are the relative measured wavelengths and intensities we humans can see. Some may notice I have removed the negative green node and plotted everything relative for comparison purposes.
Now we compare that with the spectral sensitivities of a CMOS sensor camera. In this case a Canon XTI I had measured a wile back:
So clearly humans see differently than cameras. This difference is called the Luther-Ives condition and the result is a lot of noise in images and image processing to make up for our inability to manufacturer sensors that can satisfy that condition. The result in color is metamerisem. Because our human RGB vision inherently sees better and differently than camera sensors, and we have built in Auto white balance called chromatic adaptation. Cameras just can't mimic what God created very well at all.
So to obtain camera spectral sensitivities, you need some specialized equipment. There are a few ways to do this so I'll outline my method and others can chime in with their personal fav's:
1. Telespectro Radiometer or Monochrometer (I prefer a monochrometer)
2. A bench mount
Some foundational information:
Three input channels are assumed for the spectral sensitivity data.
The spectral data for the scene adopted white and illumination "perfect reflecting diffusers" must be absolute or normalized using the same factor. The camera spectral sensitivities are measured.
The RGB primaries for the white balancing of the training colors must be normalized so that equal amounts of the primaries combined together produces equal CIE XYZ values. The primaries may be selected to produce corresponding colors (simulating chromatic adaptation), but this is not required. Then we calculate the white balancing matrix from the scene adopted white XYZ to the destination color space adopted white XYZ. Then simply calculate the linear aim values. Then Calculate the linear camera response to the adopted white and the white balance channel multipliers. After that then we calculate white balanced linear camera response signals for the training colors. Then all that's needed is to calculate the color conversion matrix from white balanced linear camera RGB to the destination linear RGB based on least squares error in the destination color space with the gamma parameter nonlinearity.
Plotting the values in XYZ we see a pretty big difference between camera RGB and human vision.
So what conclusions can we draw from this to make our art the best it can be? Well like everything in art, it depends on the goals of your specific project or the desires of the artist. If the goals are to be able to reproduce human vision, forget about it. But if you have a specific need that you must calibrate your camera to photograph and render accurately, then it may be possible using this method, depending on the exact spectral sensitivities of your particular camera &lens & lights. The plots show a CMOS sensor which will have very different sensitivities than the CCD array plotted above. Most good cameras today are CMOS, so CCD technology is relegated to come scanners.
So to sum it all up you can't overcome spectral sensitivity issues beyond the limits of the sensor, but you can modify the signal somewhat to compensate for a set of factors that remains static for the time you need it to. This can work for some artwork photography, and product photography to reduce color correction times and provide more efficient workflows for large catalog manufacturers. But the metameric effects of the difference between products given their dyes and pigments can still cause increases in time to color correct images to match.
So I hope this information proves helpful.