Women cinematographers are not a new phenomenon yet their presence is minimised, their capability to deliver is invariably in question. The low-budget producer, the first-time director and the pre-star actors readily shoot with camerawomen. It is a pattern that women cinematographers try hard to break. The same abjectness was shown to women in the days of silent cinema, a time when modern, empirical science was linked to white European men. In the early 1900s many camera women were working in the industry but every time they made the headlines, it was because of their gender. This paper argues that women cinematographers in Hindi cinema remain marginalised by design, it analyses the connection between the minimisation of women cinematographers and the dominance of the male gaze in Hindi cinema