Augmented reality is generally understood to be a direct or indirect view of the world supplemented by additional information, data or graphics. It provides an enhancement to our perception of reality, usually in real time. This paper examines how digital photography, with its image-creation based overlays and information, may be understood specifically as a process of perception enhancement. This approach, differing from previous understandings of photography in the analogue age, may offer a new account of how the world is mediated and interfaced.
Digital photography and the resultant convergence of the camera with the cell phone, has created the conditions for exponentially more images to be created. This proliferation of photographs and the ease with which they can be shared across a network has, in turn, radically altered our experience of visual culture and visual communications.
The focus of this paper will be to explore the doxa of image-making interfaces built into the devices we use to produce digital photographs. I argue that these controlling augmentations force us into a perception of the world as being simultaneously a visible reality and a representational object. With the subsequent addition of geo-tags, meta-data along with online social and user generated interactions, digital photographs are no longer simply representations of reality but are perhaps better seen as annotations of a particular kind of imaged reality.