Reflections in windows usually go unnoticed when directly observed because our attention (and the mechanisms of our ocular focus) are directed to more interesting subjects on the other side of the window. Our minds unconsciously filter them out because cues like subtle motion, retinal disparity, and convergence feedback help us understand that they are reflections. These cues are missing in photography and so it is much more common to notice reflections in photographs taken through windows than in the same scene directly observed.
This is a well known bias in photographic interpretation. Untrained people looking at photographs are much more likely to interpret features in photographs as objects in the scene rather than optical phenomena, even when those phenomena are ignored in direct observation. The human visual cortex uses many cues to "filter out" unwanted portions of the image and focus the brain's attention on the desired portion of the image. When those cues are missing or altered by photography, the brain is confused.
The camera simply projects a bundle of light rays and accumulates their effects over a brief period of time, rendering it all in the same two-dimensional image plane (i.e., the photograph). The brain must take extra care in interpreting these images, hence the training associated with photographic interpretation.
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