I love this. (Be sure to keep your eyes fixed in the same place when the image switches; you can't "look around" the faux-'color' image.) I do this every time I convert an image to B&W. Except of course what I get is a negative color image superimposed on the B&W.
Here are a couple more nifty tricks:
Find a print with a lot of dark shadow detail and look at it from a couple of feet away. Without changing the light level, close one eye and, through the other, look at the shadow area through a cardboard paper-towel tube. Watch the shadows magically open up.
If you have some black-and-white silver prints and a light box around your house, you can do a variation of this on the light table. First, find a print with lots of dark areas where there would be detail if you could see it. Put the print on the light box, and be amazed at how much more detail you can see.
This has to do with the fact that with a front-illuminated print, the silver in the emulsion layer is actually blocking the light twice: once on the way in (i.e., toward the white paper base) and once on the way back out. By putting the light source behind the print, you only allow the reduced silver to block the light one time, and detail emerges that is suppressed to black in the print.
I always meant to do an artwork based on this principle. I know what I'd do and how I'd do it, but I never had the energy to actually do it. You know what they say: Oh well.
(Thanks to the BBC and PetaPixel)
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