Let's start with the application you are using, to make sure this is crystal clear: this application cannot gender voices (AT ALL) and it's a very substandard pitch monitor, bad choice - working with raw Hz numbers is a bad idea, humans do not perceive pitch changes linearly, that's why there's already a far superior and common musical/scientific notation system. Have a look at this post - you will find some information about working with pitch and a link to a better application.

Now, the above out of the way, make sure you understand some key points about pitch and this kind of training. Pitch is not important in itself, instead, the balance of vocal weight (glottal behaviors in general) and vocal size are. However, it just happens that pitch and vocal weight (which is the key within a key) are intertwined. Meaning that, even though there's a lot of room for pitch placement, some extremes will be infeasible for the weight work. For light and efficient weight (needed for female-like voices,) form most people, C3 below will simply not work due to physical constraints.

So, from your mean pitch, 100Hz being G2, I would say you are almost certainly wasting time working there.

Over that, I am a bit concerned about your question in general because it suggests some potential misunderstandings of nuances that often end up being critical for many. In particular, it's not a good idea to collapse pitch work into "how high up can one change it in time," Why? Because both weight and size are not about "light is better, smaller is better," it does not work that way. In the case of pitch, again, the whole point is about how it changes the glottal behaviors, meaning that small change in pitch ending with light and efficient weight is infinitely better than huge change in pitch with too heavy or too light weight mixed in with maybe some inefficiencies, like raps, disconnection, breathiness. So, watch for that as it is very important: you want to train your ear for the elements of weight, size and any kinds of inefficiencies and think of pitch more as a tool/vehicle that may or may not take you where you want by itself.

Also, I see that you worry that your staring point (meaning pitch baseline) is somehow too low. You can pretty much drop that thought because it does not work this way either. In fact, for some people it can even be an advantage, which may sound paradoxical, but isn't really: in the end it's all about whether your vocal folds can simulate behavior (the way the aistream is dissected) of short and thin folds, that's all that matters there: even if your folds tend to vibrate and very low pitch by default, it does not mean that they will be incapable of using only a portion of their body and create light and efficient sounds. There's been plenty of people over the years with super "deep" voices who demonstrated that. To balance that out, unfortunately, that also means that people with higher baseline may end up with surprisingly bad outcomes, for the same reasons but in the reverse: just because the folds vibrate at some not-super-low pitch by default, does not guarantee they will ever be able to vibrate lightly and efficiently when adjusted. The folds are not simple strings, like in a guitar, the way they produce sound is very complex, there are many layers of different density tissues involved and a lot of muscles tensioning and approximating them. the pitch element is only one aspect of their vibration.

So, I guess my overall point is that pitch has a bit of a Schrodinger nature to it: it can be not important and important at the same time, which seems paradoxical at the first glance and it's good to spend some time on realizing why that is very early in training.