Very strange... again !

Well, it looks like this. Same procedure as in the first instance : using the B&W version of the IR shot as the Lightness channel of the color version converted into Lab mode.
I've tried blending the two versions (B&W IR and colour) as seperate layers, but w/o getting something similar.

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Thanks for indicating that similarity. I was not aware of that. New ways for a classical.

 

Please go ahead and thank you for your consideration.

 

Well, thank you all. Now if you're interested, here's the procedure.
First, you make two shots, on a tripod, of the same scenery. Has to be quite static, of course (here, I knew the water was moving fast and I was anticipating the effect of its smooth flow). Take one of the shots with an IR filter on, the other w/o. Just make sure you have the best exposure in both cases, that is, don't bother with any compensation.
Open the colour - standard - version in PhotoShop and convert it into the LAB mode ("Image - Mode -..."). Hold it there.
Next, open the IR version in PS and convert it into a B&W version, using any procedure you feel comfortable with.
Once you're satisfied with the B&W rendition of the IR picture, select all of it ("Edition - Select All") and copy it ("Edition - Copy").
Switch back to the open colour version you have converted into the LAB mode previously. Open the channel window ("Window - Channels") or palette and in it click on the Lightness channel to select it.
Now, you are going to replace that Lightness channel (which is in grayscale) with the B&W rendition of you IR shot. You have previously copied this, so it sits inside the temporary memory of your computer. To paste it, do this : First "Select all". The entire grayscale image of the Lightness channel is selected. Then use the"Edition - Paste Into", and voilà, the B&W IR replaced the Lightness channel.
After the conversion, switch back the mode to RGB ("Image - Mode - ...").
You now have something different you can tamper a bit to your taste, and for our pleasure.

I hope I made it clear enough. Anyway, if you want to know more, just PM me and we could Skype. Else, I'm waiting to see some of your own experiments too.

 

Better be static

Here's another example that shows it is important that the scenery be static to facilitate the superposition of the two shots. In this one, the wind was swaying the upper branches and this created an unpleasant pattern (most visible in the UL corner). I cropped the result somehow, but it is still annoying. In this case, a wide angle would have helped in reducing the perceived movement.

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