BKR-registratie laten verwijderen? Nergens goedkoper! (Dutch)

Ook als al uw schulden zijn afgelost, kunt u een negatieve BKR-notatie blijven houden. Hier kunt u zelf iets aan doen.

Download nu het GRATIS e-book “Oneens met uw registratie bij BKR?”

Hierin wordt stap voor stap uitgelegd hoe u uw onterechte BKR-noteringen ongedaan maakt.

Andere aanbieders, zoals bkrisgeenprobleem.nl en geldleningaanvragen.nl, rekenen vele euro’s voor hun e-brochures. Hoe kan het dat ik deze handleiding gratis kan aanbieden? Omdat u hem rechtstreeks van de site van het BKR downloadt.

Jawel, het Bureau Krediet Registratie biedt gratis de dienst aan waar u elders veel geld aan kwijt bent. Dynamiet Nederland wil zelfs niet zeggen wat hun dienst kost. Op hun pagina Kosten melden ze: “De prijs is afhankelijk van de situatie en opdracht. Naast een betaalbare oplossing hanteren wij flexibele betaalmogelijkheden. U heeft de keuze om in één keer of in termijnen te betalen.” En zoals u weet, als u moet vragen naar de prijs, kunt u hem waarschijnlijk niet veroorloven.

BKR zegt zelf over internetaanbieders: “Op internet zijn diverse partijen actief die aanbieden uw registratie in CKI te verwijderen. Wees voorzichtig met dergelijke aanbiedingen. Het kost u vaak veel geld en het resultaat is zeker niet altijd verwijdering van uw registratie. Als u van mening bent dat u een onterechte registratie heeft, dan vindt u op deze website kosteloos meer informatie om deze, zo mogelijk, te laten corrigeren.”

Met andere woorden, ga met de juiste partij in zee – het BKR! Als u uw onterechte BKR-registraties teniet wil laten doen, laat u dan door BKR informeren hoe dit moet. Net als u heeft het BKR weinig aan onterecht negatieve registraties.

Let op!

BKR zegt dat u een klacht bij hun geschillencommissie vergezeld moet doen gaan van een recent overzicht van uw BKR-gegevens. Het aanvragen van zo’n overzicht of van toegang tot mijnBKR kan enige tijd duren. Zorg dus eerst dat u alle overige bijlagen voor uw klacht in huis hebt, dan het BKR-overzicht en dat u dan pas uw klacht indient.

Als u er niet uitkomt, schakel dan een vriend of familielid in om u te helpen. Wilt u of kunt u dit niet? Neem dan contact op met bijvoorbeeld de wetswinkel van uw gemeente, de sociaal raadslieden van uw gemeente of het maatschappelijk of juridisch spreekuur van uw wijkcentrum.

Zie ook:

Mister Money: BKR-code: hoe kom je ervan af?

(Engels / English: this is a public service announcement. During one of the most expensive TV advertising slots I saw an ad for a company called Dynamiet Nederland that claims it will cancel negative registration with the Dutch office for debt registration, BKR. I immediately smelled a rat—nobody pays for expensive TV ads only so that they can ‘help’ people. But what was the catch? At first I thought that this service would offer expensive loans to people with debts so that they can replace the debts with even more expensive debts. Then I found out that the service these companies are offering, is something a debtor can do themselves. In the above I outline how to do this.)

Sourceforge has crossed the threshold from bad to criminally bad

A bunch of years back I wrote that Sourceforge.net was “a very useful website for computer programmers (or developers, as we like to call ourselves), because it provides an aggregation point for people, code and knowledge, and it does so for free.”

The reason I blogged about Sourceforge was because the site had started to make mistakes. Next to its small and inconspicuous download links it placed large advertisements that looked exactly like download buttons and that would lead you to all kinds of nasty and unwanted software. I naively assumed that this was a mistake; something Sourceforge would fix as soon as it was pointed out to them. Somebody from Sourceforge even kindly commented to explain what was going on — although the explanation itself was rather disappointing.

These days, Sourceforge not only places problematic ads, it also bundles the software it hosts with extra downloads. And what is worse, it has hijacked high profile projects to do so.

Apparently the GIMP project (a photo editor) had already left Sourceforge in 2013, but had kept an account active to act as a mirror, an extra download site in case the primary site is down. The maintainer of the GIMP’s Windows distribution discovered on 26 May of this year that he had no longer access to his own account.

Earlier that day, the GIMP developers had received word that the GIMP download from Sourceforge was being wrapped in an installer. According to Ars Technica, that installer would try and lure you into installing extra software.

I don’t know much about criminal law, but this seems to be something that should have landed Sourceforge’s owners, Slashdot Media (once a geek-loved brand), firmly into gaol.

Anyway, the lesson is clear: stop downloading from Sourceforge. The company has since promised that it would stop hijacking accounts, but I don’t trust serial abusers.

What is the alternative? Well, for one thing there is a tool called Ninite that promises to help you manage a great number of freeware and FOSS installations, including GIMP, and that promises to do so without installing any kind of spyware or other malware. I am not sure if and how far they can be trusted, but it seems to me that if “no malware” is one of their defining features, they may not wish to throw away their reputation by breaking that promise. Here’s hoping that this is not me being naive again.

Google’s former diversity chief opens misogyny temple

This is rich. A museum in London that was said to become a much needed and desired women’s history museum turned out to be a museum glorifying famed killer of women Jack the Ripper.

When confronted with this strange change from celebrating the things women achieved despite adversity to becoming part of that adversity, the museum’s founder Mark Palmer-Edgecumbe engaged in a bit of victim blaming: “It is absolutely not celebrating the crime of Jack the Ripper but looking at why and how the women got in that situation in the first place,” Palmer-Edgecumbe told the Evening Standard.

Palmer-Edgecumbe, former diversity chief of both Google and Barclays, lied to the Tower Hamlets council when applying for a permit to build “the first women’s museum in the UK”. Critics of the museum have pointed out that the museum:

  • Glorifies Jack the Ripper by showing a figure of him as a gentleman in the museum’s logo.
  • Insults the Ripper’s victims by reducing them to smears of blood on coffee mugs.
  • Is on Cable Street, but is not about the rich history of Cable Street women – whereas Jack the Ripper exhibits and tours are a dime a dozen.

The Tower Hamlets council is reviewing the situation, but has already announced that it is unlikely to revoke any permits: “Ultimately, however, the council has no control in planning terms of the nature of the museum.” The council will instead look into other irregularities, such as the opening hours and the design of the front of the building (the Jack the Ripper imagery), which may both go beyond what the permits allow.

(Via PZ Myers.)

Quick comparison: Canon EF-S 24mm v. Sigma 17-70mm mk 2


Last week I bought the new Canon EF-S 24mm F2.8 STM lens from Canon. This is a lens that only works on crop sensor cameras. STM is short for stepper motor and provides a relatively fast and quiet means of focussing. What the name doesn’t convey is that this is also a very flat lens (a so-called ‘pancake’) and at 125 grams a very light lens.

For comparison my Sigma 17-70mm F2.8-4.0 zoom lens (second edition) weighs four times as much, which may not sound like much, but when you want to travel light every little bit helps.

I bought the 24 so that I don’t always have to bring the 17-70 with me (I already have a solution for 50mm and higher).

Reviews of the 24 are glowing without fail, but when I started shooting with it, I did not notice much difference with my Sigma zoom, which is generally known as a rather pedestrian lens. So I wanted to know what’s up and took a couple of test shots on my Canon EOS 600D camera.

Note that the following is definitely not even close to what in pixel peeping circles is termed ‘scientific’. I don’t need to know what a lens does at pixel level as long as it holds up well for photos that get scaled down a couple of times, because when I publish photos it is generally at a web resolution of 1 or 2 mega-pixels.

The following photos are available at 1200 pixels wide. Click them for the full size. In every comparison the Canon photo is shown first, followed by the Sigma.

Wide shot

I expect to be using the lens a lot for this type of shot and for medium shots.

I shot using (cover your children’s eyes) the automatic setting (P). The camera chose F9, 1/320s, ISO 100 for the Canon and the same settings except 1/250s for the Sigma. The DXO Labs comparison of the two lenses suggests that the Canon lets in more light for the same F value, so that might explain the differences in shutter speed. The photos were taken hand-held and focus was acquired using CDAF on the top left white window of the nearest building.

These photos already tell me most of what I wanted to know, namely that the two lenses are similar enough that scaled down to a resolution close to what I typically use, there is no significant difference along any vector you care to choose: sharpness, colour rendition and so on.



Checking that window at 100%, you can see that the Canon seems slightly sharper, but the difference is too small to worry me. The difference may be caused by a number of variables that have nothing to do with the lens. I certainly wouldn’t leave the Sigma home over this bit of evidence.


When I look at the 100% view (not shown here) of the nearest red roof in the picture, the vertical lines separating some of the roof tiles disappear in the Sigma picture where they remain visible in the Canon picture. As you can see that sort of detail makes up a tiny proportion of the final picture. That type of detail is not something I am interested in retaining for the sort of photos I generally take. Still, it is good to see the Canon pancake do well in this respect.

Macro and close-up

Both the Canon and the Sigma have an interesting feature in that you can get very close to a subject and still get it in focus. They both advertise this as macro capability. Since 24mm is equivalent to 38mm on Canon’s APS-C cameras, you can get really close and still get a nice bit of blurry background in the photo.



What’s interesting here is the change in perspective. I shot these close-ups on a tripod and took care not to move the tripod in between photos. Note that the camera doesn’t tell you which focal length you are shooting at. I had to shoot a test scene first using measurements I got from the dimensional field of view calculator I found at one Max Lyons’ site. In English, I placed an object that was 93 centimetres wide at a distance of 100 centimetres from the sensor, zoomed the Sigma in to the point where the entire width of the object filled the screen, and kept that zoom setting for all the test photos I took with that lens.

When I looked at the EXIF data of the photos, the Sigma results said 23mm instead of 24mm. It could be that such a small difference in focal length already results in such a great difference in the photos. Or maybe the way zoom lenses are constructed cause this difference, I really don’t know.

What you cannot see here is that you can get even closer with the Canon, because it is such a small lens. The Sigma will at one point cast its own shadow in your photos.

Both photos where shot in P mode resulting in F4.0 (F4.5 for the Sigma), 1/60s and ISO 100.

The following are 100% crops (after the click).



I focused on “EOS” in “only in EOS digital cameras” for the Canon test, whereas I accidentally changed to “EOS” in “für digitale EOS Spiegelreflexkameras bestimmt” for the Sigma photo.

When you peep pixel you may notice that both lenses are nice and sharp, that the Canon has slightly more chromatic aberration (both seem well controlled though), but that the Sigma has a fairly nasty rendition of high contrast out-of-focus areas. Your may well disagree, the differences seem small. I had noticed the busy high-contrast out-of-focus areas in Sigma photos before – I’ve been shooting this lens for a while now. If the Canon does better in this area I am going to be a happy camper.

Finally I will show you two 100% crops of out-of-focus areas. I find both renditions fairly pleasant.



So here’s my conclusion.

For the type of photography I do, my copy of the Canon may be slightly better than my copy of the Sigma. I would have been happy even if the results were reversed, so this is good news. The one thing I haven’t tested is shooting the Canon wide open (F2.8) in dark environments. The shutter speeds I will be using it at are 1/60s – 1/160s, depending on the subjects. The Canon, unlike the Sigma, does not have image stabilisation, but since I will be mostly photographing people (who will move without notice), I will probably have to keep the shutter speeds relatively high anyway.

In the end it seems I have achieved my goal of getting a lighter lens for my wide-angle needs.

On a more general note, the Canon EF-S 24mm F2.8 STM seems to be a nice pancake. If your needs are similar to mine, but you need to change focal lengths a lot, you may prefer the zoom lens. Note that a new version of the Sigma tests significantly better than my version at DXO and is also smaller and (slightly) lighter.

Pity, John Oliver, I thought you might be one of the good guys…

British comedian John Oliver is the front man of a popular American rage vlog (and TV show) called Last Week Tonight, in which he tries to work viewers into an angry fit by spinning a mock cathartic narrative around injustices that are both major and very real.

The segment of 21 June was titled “Online Harassment“. It dealt largely with the harassment women undergo when they dare to do as much as open their mouths on-line. Two of the victims Oliver named and interviewed were Brianna Wu and Anita Sarkeesian, but shamefully he omitted mentioning their attackers, the Gamergate movement.

By not naming and shaming the attackers he wilfully let them off the hook. The Gamergate movement’s only goal is to harass women both on- and off-line. Surely, naming a movement that is a sort of modern day Ku Klux Klan (except aimed against women instead of people of colour) is exactly what you need to do when you’re trying to pretend that you are putting on-line harassment in the spotlight?

It’s not like the people in the know don’t realise what’s going on. Gamergate was very quick to acknowledge that John Oliver was talking about them. If not to keep the Gamergate hounds at bay, why did Oliver refrain from calling the attention of the public to one of the worst hate campaigns currently laying waste to the internet?

The major reason I can think of is that as long as on-line harassment is alive and well, he can produce shows around it. Oliver doesn’t really want to tackle injustice, he only wants to use injustice as the emotional hook with which to reel in his audience.

Shame on you, John Oliver!

Ads for something you’ve already bought

Lately this happens a lot to me:
1) I search the web for a product.
2) I settle on product X.
3) The ad network remembers my choice.
4) I buy product X.
5) The next two weeks, the web inundates me with ads for product X, even though I have already been sated with said product.

In other words, I keep seeing ads on the web for products I’ve already either bought or rejected.

The mechanism behind this is called targeted advertising. Basically you visit website A which tells ad network Annoy Inc. what you’ve been looking at, then you visit website B which loads ads by Annoy Inc. based on what they know about your interests.

Apparently I am a little bit behind the curve, because this sort of thing was already happening in 2012. The Slate article calls the practice creepy and focusses on the fact that the advertisements follow you around without actually serving a purpose. I’d probably use a less strong word and call it strange rather than creepy, but then I don’t need to draw in many readers in order to serve them targeted ads, like Slate does.

It seems to be that advertising has become smart enough to realise what you are interested in at any given point, but not smart enough to realise when that interest drops abruptly or changes in nature. The funny thing is that advertising for something that you are no longer interested in is actually worse than advertising for something you have never been interested in. It’s a bit like the one night stand from two weeks ago showing up at work five times a day to nag you about wanting to do the sex thing again – well, at least they have a chance you will say yes.

Why are companies so stupid? I think part of the problem may be that ad networks really don’t have an incentive to change things. They get paid by the view and can in fact prove that you’ve shown interest in the product that’s being advertised. If manufacturers and sellers want to stop annoying their core customer base, maybe they should get involved more into on-line advertising. (Or maybe the companies really aren’t that stupid and get something out of it that the consumers have yet to suss out.)

See also:

Free speech can be dangerous

A commenter at the New York Times wrote: “There are zero conditions for freedom of speech. Only that it doesn’t cause an immediate danger to the public (i.e. shouting “fire” in a crowded theatre).”

This is a sentiment I come across often and with which I have a couple of issues.

One is that it is absolutist. If the conditions of free speech are rigid, they become comforting. You now know what the contours of free speech are, so you no longer have to worry about them. In my opinion, however, free speech becomes less free if you can easily define its contours.

The crowded theatre phrase was uttered by a judge in an opinion in 1919, almost a hundred years ago. Judges live in a kind of fluid world. They create law by jurisprudence, but they also know that if their arguments aren’t strong enough, the next judge will overturn their laws. If Oliver Wendell Holmes said something about shouting fire in crowded theatres, he was probably vain enough to hope for immortality, but unlike the average internet commenter, he also knew his opinion could be replaced at any time by another court.

The other issue I have is that the crowded theatre statement betrays a really low opinion of free speech. Apparently free speech is never dangerous, is always ineffectual. As soon as it challenges, mocks, riles, irritates, provokes, speech becomes dangerous and loses its privilege of being protected.

The above mentioned judge did make that distinction, by the way. The New York Times quote is incomplete. What Oliver Wendell Holmes actually said was: “The most stringent protection of free speech would not protect a man falsely shouting fire in a theatre and causing a panic.”

The distinction is in the word ‘falsely’. Dangerous speech can be good. It can topple a dictator and set a people free. It can alert a group of theatre goers of a fire. In the ensuing stampede for the exits some people may be trampled to death, but generally that is to be preferred over everybody dying in the fire.

When people get trampled unnecessarily is where judge Holmes draws the line.

Saint Nicholas Parade 2014


On 15 November Saint Nicholas arrived in the Netherlands with his Black Peters having traveled here on his steam boat all the way from his palace in Spain.

The day after, he participated in parades all over the country. I went and took pictures of his parade in Amsterdam.


The past two years there has been an intense debate, if you even want to call it that, about Saint Nicholas’ famous helper, Black Peter. There are people who figure if they cannot destroy racism, they could at least have a go at what they perceive to be a symbol of racism. Racists have come crawling out of the woodwork by the hundreds of thousands to ‘defend’ Black Peter, by which they mean that they claim the right to call every person of colour ‘black peter’ any time they want (reducing said person to a cartoon character).

And everybody else (the majority) is closing their eyes, hoping this will all go away.

The anti-Petes started a lawsuit last year, claiming that the city of Amsterdam should not have issued a permit for the Saint Nicholas parade in Amsterdam considering that Black Peter represents a negative stereo type of black people (bright red lips, golden earrings, curly hair and so on). The court agreed with them (Dutch) and came to the curious conclusion that the city should reconsider the permit for an event that had already taken place.


Lacking a time machine, the Netherlands did not go back to November 2013 to cancel the parade.

One of the reasons Black Peter is black, legend has it, is because he has to clamber down and up chimneys to deliver presents. The soot is so persistent that it no longer comes off. That is why the city of Amsterdam decided that this year some of the Petes would appear in a semi-sooted state. To be honest, I did not notice many Roetpieten (Soot Petes), as they were soon dubbed. Most of the Black Peters in the parade looked the same as they did last year.


You have to wonder if this was a serious attempt of the city to find a middle ground, or if the people that govern us belong to the group who want all this to just blow over.

Interestingly the Head Pete (Saint Nicholas’ right hand, bearer of the book of names of all children and the most authoritative figure in the parade after Saint Nicholas himself) did show up as a Soot Pete this year.


Shown throughout this posting are a couple of photos I took this year.

In 2013 I posted the photos I took of the parade that year as an album on the Flickr account of 24 Oranges. My co-blogger asked me not to do that this year. That is why I posted them to my own Flickr account. See for yourselves if you think Amsterdam has done enough to kill of any racist stereotypes. You can find my 2013 album here, and my 2014 album here.

Note that the 2013 parade was already supposed to be toned down in that Black Peters had shed their golden earrings.

You would probably like to know what my opinion is of all this. The thing is I do have a position and I would love to share it, but my position is based on a lot of anecdotal evidence and I am not sure it would hold up to even the lightest scrutiny. As a result I don’t think sharing what I feel about this sordid affair would, at this point, add anything meaningful to the debate.

Long and rambling review of the Ducky DK2108 computer keyboard


Ducky Zero DK2108

Abstract: buy it if you want to try it, or not, it’s all good.

I wanted to own a real keyboard.

The currents of modernity sweep into curious directions. For instance there is a strong tendency among manufacturers to make things that break easily. This forces consumers into buying the same thing—or a slight up- or downgrade of that thing—over and over again. (See: planned obsolescence.)

Also the desktop PC seems to be on its way out. Plumbers and archdukes alike seem to perform the majority of their computing tasks on ever shrinking devices. I’ve even seen programmers switch to tablets. I do not belong to that group of people. Big and fast devices make my job (I am a web developer) significantly easier.

These days if you want to buy a keyboard, you buy a plastic affair for 10 bucks that starts to disintegrate almost the moment you join the queue at the computer store’s check-out.

I moved the other way and went for a 100 euro mechanical keyboard, the Ducky DK2108.

This is a review of that keyboard. It is unnecessarily long and rambling, because I wrote it twice and then haphazardly merged the two reviews, and then I failed to reach a solid conclusion. Go figure. I post this because I think it can still be useful, but you may have to bear with me a bit.

Read the rest of this entry »


I have finally figured out what it is that makes Frogger so difficult. It offers you a ‘weapon’ that is one of the most difficult to control of all, namely choice.

There are few games I know of, retro or modern, that have so perfected the sense of “I’ve got this.” You think, “I can make that jump,” or “I can get that bonus fly”, and before you know it the croc is dining on your frog’s legs. It is difficult because it is easy. You underestimate everything about it, the timing, the distances, the enemies. And every time bitter experience has taught you to be extra careful, the bonuses and the wide gaps and the forgiving collision masks give you a false sense of security and lure you right back into offering one of your few frogs onto the altar of your inflated ego.

I’m pretty sure early reviews mentioned this aspect of the game, but I am nothing if not stubborn, although a good second would be easily distracted and a third would be forgetful.

Frogger is one of the first video games I encountered in my life (the very first must have been Pong) and yet after forty years it still stumps me. That is quite an achievement.