The interaction between eyes and spectacles is complex indeed. Thanks to its insight, Carl Zeiss research has what it takes to think outside the box. We make more than just lenses for spectacles. Our aim is to give patients perfect, brilliant vision by creating an optimum dialog between the eye and the visual aid – the lens.
Truly perfect vision is the result of the harmonious interaction between highly evolved optical systems and Mother Nature.
Koch is considered the founder of modern bacteriology. A country family doctor, he discovered the tuberculosis bacteria cholera virus in the 1880s. “Many of my achievements were only possible thanks to your excellent microscopes,” Koch states in a letter to Zeiss. In 1904 he was given the 10,000th homogenous immersion lens as a gift.
The Göttingen-based professor did groundbreaking work in the field of colloid chemistry. He invented the ultra microscope in 1903, the membrane filter in 1918 and the ultra fine filter in 1922. The ultra-microscopy (according to Siedentopf/Zsigmondy) makes tiny particles visible whose linear expansions are actually below the resolution limit.
In 1930, while performing experiments with reflection grills, the Dutch physicist discovered that he was able to observe the phase level of the individual light rays. He decided to try to transfer this finding to the microscope. In partnership with ZEISS, he developed the first phase contrasting microscope. The prototype was completed in 1936. It allows scientists to study living cells without harming them with chemical dyes.
A bio physicist and the founder of the Max-Planck-Institute for Bio-Physical Chemistry in Göttingen, Eigen developed a single molecule verification process. In cooperation with his Swedish colleague Rudolf Riegler and with companies EVOTEC and Carl Zeiss, he produced the first commercially available fluorescence co-relation spectrometer ConfoCor in 1995.
At the Max-Planck-Institute in Göttingen he and Professor Sakmann discovered the basic mechanisms of cell communication. The process also included the performance of electro-physiological experiments on ion channels using the Patch-Clamp technique.
For the visual checks performed during the above experiments, the two scientists had to be able to rely on images depicting superior contrasts and with a high optical resolution. They used upright microscopes – all of which were supplied by Carl Zeiss – that had been specifically designed for these applications.
Paintings by Vincent van Gogh fetch amazing sums at galleries and auctions now – prices the artist could not even have dreamed of during his lifetime. After spending time in Antwerp and Paris, the illustrious artist painted 187 pictures in the small Provence town Arles in a period of only 16 months. This creative phase is marked by the characteristic blue and yellow colours that are identified with the South of France, which appear in all of these paintings. However, some people believe that van Gogh may not have painted all of the paintings from that era that are said to be his.
A research project is underway to determine the facts. Carl Zeiss employees are looking into the authenticity of these paintings in partnership with the Van Gogh Museum Amsterdam and the Shell Oil Corporation.
Micro structures, pigments and the foundations on the paintings indicate who the creator of these paintings really was. Researchers are working with a Carl Zeiss transmission electron microscope (TEM) to analyse ultra thin pieces of loosened paint particles. The result can render alleged van Gogh paintings worthless in a heartbeat.
How does this process work? An ion beam cuts microscopically small pieces from the material in the form of cross sections. Placed under the TEM, the prepared specimen can be examined using a special analytical process that can determine the precise composition of the materials in the sample
What did the researchers find out? Van Gogh preferred to use a white lead pigment base blended with parchment white. The TEM makes it possible to recognise the individual material preferences and painting techniques of an artist 120 years after a painting was completed.