I agree that one should also look at what Crowley also said of this (and other) cards in his The Book of Thoth - but it is also worth considering how the images Frieda (I nearly wrote Fire-da...) Harris gifted us from possible early discussions with Crowley, and then her work with either George Adams and/or Olive Whicher on projective geometry. It is the combination of these which resulted in her creation of these wonderful cards she gifted the world.
In writing his Book of Thoth, then, Crowley may himself have been influenced by the manifestation (perhaps at times surprising yet truthful to his guiding instructions) of Harris's cards.
On this card, not only the Light-mesh, as a net which veils, but its very shape hint at the sanctity of its hidden dimensions.
Crowley would have been quite aware of the significance of the 'diamonds' in the lower portions. Three are clearly regular polyhedra (oft called 'Platonic Solids'): the Tetrahedron, Dodecahedron, and Octahedron. The bottom left-hand one appears to combine somewhat what may be expected to be either a Hexahedron (ie, cube) and Icosahedron - a strange mixture, really... The other depictions (such as the sunflower-like plant on the right, the pine-cone, and the other flora-like depictions) each exhibit clear golden proportions through their implicit Fibonacci numbers.
Here, then, what seems to also be revealed is that nature will manifest through not only geometrical veils of Light, but that its descent will manifest through harmonious and law-abiding structures.
When considering also the card's location upon the Tree (as Crowley and the Golden Dawn would have it), it is placed upon the path which not only crosses the Abyss upon which Knowledge (Da'at) will be required for its re-entry, but links the central Solar Sephiroth with its ultimate Crowning-Achad (unity) of origin.
Here, certainly Gimel may easily be understood to make sense (even if this tradition is not universally accepted). The Camel, as the ship of the desert (in ancient Egyptian: Deshert = Red earth = the place of danger and death), assists in making such long journeys in the fiery desert in which water is sparce... One's own knowledge (Da'at) of placements (the various oasis and wells) is required for the drinking deeply of the quenching.
As Artemis, who, as Crowley describes her, hunts with the musical bow by enchantment, depicts the High Priestess, a question may truely be asked as to whom her prey becomes!
In the same book previously mentioned, Crowley also says of this card: 'Pure, exalted and gracious influence enters matter. Hence, change, alternation, increase and decrease, fluctuation. There is, however, a liability to be led away by enthusiasm; one may become "moon-struck" unless careful balance is maintained.' (p 255)
The unveiling of Isis (or as Plutarch wrote her name: Iside, reminiscent of another name Isilde) becomes but the blinding Light and its darkness made visible through initiation of, as a first step, one's Holy Guardian Angel...