Friday, May 1, 2009

ARMs Reset Crisis Revisited

Just over a year ago I took a Close Look At The ARMs Reset Problem.

Inquiring minds may be asking "What's Changed?"

The answer is: there has been much improvement across the board, but especially for 5-1 ARMs. In addition, those in ARMs tied to the Cost of Funds Index (COFI), will be pleased to note that on April 30, the COFI sank to an all time low.

The History of COFI shows the March 2009 index value at 1.627, a record low. A year ago index value was 3.280. Last month it was 2.003.

COFI is the weighted average of the cost of funds (CDs, savings deposits, checking deposits, etc) for member banking institutions of the Federal Home Loan Bank of San Francisco (the 11th District). COFI is a lagging index. The index value for a given month is typically reported on the last day of the following month. For Example: At or after 3 p.m. on the last business day in September, the bank announces the August COFI.

The most common indices used to compute ARMs are COFI, 1-Year Constant Maturity Treasuries (CMT), 1-Year LIBOR, and 1-Month LIBOR.

Rate Comparisons - COFI, 1-Yr CMT, 1-Yr LIBOR



Those in interest only loans are frequently tied to 1-Month LIBOR.

1-Month LIBOR



All charts courtesy of Money Cafe.
Click on any chart to expand.

ARM Index Rates

COFI - 1.627%
1Yr CMT - .64%
1Yr LIBOR - 1.97%
1Mo LIBOR - .41%

ARM rates consist of an index rate (typically one of the above), plus a margin component (e.g. 1 Month LIBOR + a spread). The amount of the spread is based on credit risk and other factors at the time the loan. Regardless of what index rate is, ARMs that are now resetting are likely to be coming in at lower rates, perhaps even much lower rates.

1 Year CMT Table



One Month LIBOR Table



One Year LIBOR Table




COFI Table



Across the board, those in 3-year ARM rates that have recently reset or are about to reset, will do so at a much lower rate unless there is a floor. Moreover, with the specific exception of 1-Year LIBOR based loans, there will also be a reduction in 5-Year ARM rates when those loans reset. Looking ahead just one month, even 5-Year ARMs tied to 1-Year LIBOR are likely to reset lower.

Thus, even homeowners ineligible to refinance now because they are underwater on their homes, have already (or soon will) see a significant reduction in mortgage interest rates (assuming there is no floor that prevents rates from going lower). I do not have stats on the percentage of loans with and without a floor, but even with a floor, rates should not rise.

Principal Payments Need To Be Factored In

There is still one more issue to address, and that is higher payments when the interest only period ends. For example, a 5-year ARM loan typically goes from interest only payments to interest + principal amortized over 25 years on the first rate reset. Likewise a 3-year ARM loan typically goes from interest only payments to interest + principal amortized over 27 years on the first rate reset. Some ARMs have a 10 year interest only period which postpones this particular problem.

Across the board, those in 3-Year ARMs with principal and interest payments will likely see their total mortgage payment drop. However, those paying interest only, especially those in 5-1 ARMs, may see their total payments rise. Even so, the situation has hugely improved from a year ago.

Pay Option ARMs Still A Problem



The problem with Pay Option Arms is over 80% of POA mortgagees only make the minimum payment. Given that minimum payments typically do not cover interest owed, the loan balance increases every month. This is called negative amortization, and it has been going on for years.

Negative amortization is compounded by falling home prices. At some point, typically 110-125% of the mortgage, an enormous gotcha kicks in. That gotcha requires a fully indexed fully amortized principal and interest payment, amortized over the remaining years. People who could only afford the minimum payment will be forced to pay principal, plus interest, on top of a loan balance that has been growing monthly. Good luck on lenders getting all their money back on those loans.

The second problem in regards to POAs is that a huge portion of these loans originated if the least affordable, biggest bubble areas, like Florida, California, Las Vegas, etc. From a lender's perspective that hugely increases the likelihood of default as well as the size of the problem should default occur.

Conclusion

Other than the ticking time bomb of Pay Option Arms (which is still a huge problem, especially for California), the ARM reset problem has vanished for as long as rates stay low, or permanently if ARM holders roll over into affordable fixed rate mortgages.

Unfortunately, reset issues are not the only problem. The economy is still losing 600,000+ jobs a month and for every job lost there is another person who might be shoved into foreclosure as a result.

Mike "Mish" Shedlock
http://globaleconomicanalysis.blogspot.com
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Literary Dose #37

Hans Ulbrich Obrist: You wrote in the Observer in 1997 a piece on airports and London where you said that, �By comparison with London Airport, London itself seems hopelessly antiquated. London may well be the only world capital�with the possible exception of Moscow�that has gone from the nineteenth century to the twenty-first without experiencing all the possibilities and excitements of the twentieth in any meaningful way.� And you carry on mentioning your admiration for the Hilton Hotel in Heathrow. Can you tell me why that building, and what relationship or dialogue you have in general with architecture or architects?

J.G. Ballard: The Heathrow Hilton designed by Michael Manser is my favourite building in London. It�s part space-age hangar and part high-tech medical centre. It�s clearly a machine, and the spirit of Le Corbusier lives on in its minimal functionalism. It�s a white cathedral, almost a place of worship, the closest to a religious building that you can find in an airport. Inside, it�s a highly theatrical space, dominated by its immense atrium. The building, in effect, is an atrium with a few rooms attached. Most hotels are residential structures, but rightly, the Heathrow Hilton plays down this role, accepting the total transience that is its essence, and instead turns itself into a huge departure lounge, as befits an airport annex. Sitting in its atrium one becomes, briefly, a more advanced kind of human being. Within this remarkable building, one feels no emotions and could never fall in love, or need to. The National Gallery or the Louvre are the complete opposite, and people there are always falling in love.
hilton.jpg
[Heathrow Hilton by Michael Manser, 1992 | image source]
Hans Ulbrich Obrist: And what is your favourite museum and why? What do you think of the evolutions undertaken by museums in the last few decades? In your view, what role do museums play today? And ideally what do you think their role should be?

J.G. Ballard: I like traditional museums, the less frequented the better. All the changes in the past fifty years have been for the worst. I remember the Louvre in 1949 when it was completely deserted, whereas today it is a theme park where you can enjoy �the Mona Lisa experience.� This isn�t only a matter of funding. Museum directors enjoy being impresarios, guru-figures manipulating the imaginations of the public. Museums shouldn�t be too popular. The experience within the Louvre or the National Gallery should be challenging and unsettling, and take years to absorb. The Italians had the right idea. Most of their paintings were in dimly lit churches, un-clean and difficult to see. As a result, the renaissance endured for centuries.
- An interview with J.G. Ballard and Hans Ulbrich Obrist from Hans Ulbrich Obrist Interviews, Volume 1 (Charta, 2003, pp. 58-68)

The above interview in its entirety is available at Abitare (via Archinect), though volume one of Obrist's interviews -- a nearly 1,000 page tome with 66 interviews with architects, artists, curators, filmmakers, musicians, philosophers, social theorists, and urbanists -- is worthwhile for those interested in this form of inquiry.

See Ballardian for obituaries and tributes on the author who has influenced architects (among others) with his unique form of science-fiction.

Phase One Launches P 40+ with Sensor+

Phase One, the leader in open-platform based medium format camera systems and solutions, today announced immediate availability of the Phase One P 40+ -- the company's second Sensor+ enabled digital camera back/camera system.

Like the P 65+ introduced last year, this new system offers two separate image-capture modes. In normal mode, the P 40+ delivers full 40 megapixel captures for high-quality image details. And when shooting conditions demand, a photographer can push a button and instantly switch from 40 megapixels to 10 megapixels, gaining a four-fold increase in light sensitivity (ISO to 3200), and a capture rate of up to 1.8 frames per second --an ideal performance for hand-held and/or low-light conditions.

�Our second Sensor+ enabled system has been designed to deliver the fastest capture rate of any high-end medium format camera system on the market today,� said Jan H. Christiansen, marketing director for Phase One. �Our relentless innovation is inspired by the needs of quality-conscious professional photographers who seek flexible and reliable camera systems that can work as hard as they do.�

The versatility of the P 40+ system is important for those who seek quality mediumformat 16-bit capture under a variety of working conditions. Both modes feature a 12.5 f-stop dynamic range. From high-end wedding, fashion and fine-art photographers to photojournalists, the choice of capture modes in a single camera system frees photographers to focus on the job at hand rather than worry over equipment.

Best results of Sensor+ technology are available by processing images using Phase One Capture One software version 4.8 or higher.

Technical specifications:
� P 40+ full resolution capture mode:
� Resolution: 40 megapixels
� Pixel size: 6 x 6 micron
� RAW file compression:
� IIQ large: 40 MB
� IIQ small: 26 MB
� ISO: 50, 100, 200, 400, 800
� Capture rate: Up to 1.2 frames per second
� P 40+ Sensor+ capture mode:
� Resolution: 10 megapixels
� Pixel size: 12 x 12 micron
� RAW file compression:
� IIQ large: 10 MB
� IIQ small: 7 MB
� ISO: 200, 400, 800, 1600, 3200
� Capture rate: up to 1.8 frames per second

Phase One P+ camera back mounts:
Phase One 645 AF, Mamiya 645AFDII/ AFDIII, Mamiya RZ67 PRO IID via adaptor, Hasselblad H1 and H2, Hasselblad 555ELD, 553ELX, 503CW and 501CM, Contax 645.

Wide angle & technical cameras: 4 x 5" via FlexAdaptor: Arca Swiss, Cambo, Linhof, Toyo, Sinar, Plaubel, Horseman.

Pricing & Availability
The P 40+ digital back starts at �14,990; the P 40+ camera system starts at �16,990.
All products are available now.

More information
For full technical specs, please read more here: www.phaseone.com/p40.
For pricing and more information please contact a local Phase One dealer:
http://www.phaseone.com/Content/ContactUs/LocateDealer.aspx

Phase One Launches P 40+ with Sensor+

Phase One, the leader in open-platform based medium format camera systems and solutions, today announced immediate availability of the Phase One P 40+ -- the company's second Sensor+ enabled digital camera back/camera system.

Like the P 65+ introduced last year, this new system offers two separate image-capture modes. In normal mode, the P 40+ delivers full 40 megapixel captures for high-quality image details. And when shooting conditions demand, a photographer can push a button and instantly switch from 40 megapixels to 10 megapixels, gaining a four-fold increase in light sensitivity (ISO to 3200), and a capture rate of up to 1.8 frames per second --an ideal performance for hand-held and/or low-light conditions.

�Our second Sensor+ enabled system has been designed to deliver the fastest capture rate of any high-end medium format camera system on the market today,� said Jan H. Christiansen, marketing director for Phase One. �Our relentless innovation is inspired by the needs of quality-conscious professional photographers who seek flexible and reliable camera systems that can work as hard as they do.�

The versatility of the P 40+ system is important for those who seek quality mediumformat 16-bit capture under a variety of working conditions. Both modes feature a 12.5 f-stop dynamic range. From high-end wedding, fashion and fine-art photographers to photojournalists, the choice of capture modes in a single camera system frees photographers to focus on the job at hand rather than worry over equipment.

Best results of Sensor+ technology are available by processing images using Phase One Capture One software version 4.8 or higher.

Technical specifications:
� P 40+ full resolution capture mode:
� Resolution: 40 megapixels
� Pixel size: 6 x 6 micron
� RAW file compression:
� IIQ large: 40 MB
� IIQ small: 26 MB
� ISO: 50, 100, 200, 400, 800
� Capture rate: Up to 1.2 frames per second
� P 40+ Sensor+ capture mode:
� Resolution: 10 megapixels
� Pixel size: 12 x 12 micron
� RAW file compression:
� IIQ large: 10 MB
� IIQ small: 7 MB
� ISO: 200, 400, 800, 1600, 3200
� Capture rate: up to 1.8 frames per second

Phase One P+ camera back mounts:
Phase One 645 AF, Mamiya 645AFDII/ AFDIII, Mamiya RZ67 PRO IID via adaptor, Hasselblad H1 and H2, Hasselblad 555ELD, 553ELX, 503CW and 501CM, Contax 645.

Wide angle & technical cameras: 4 x 5" via FlexAdaptor: Arca Swiss, Cambo, Linhof, Toyo, Sinar, Plaubel, Horseman.

Pricing & Availability
The P 40+ digital back starts at �14,990; the P 40+ camera system starts at �16,990.
All products are available now.

More information
For full technical specs, please read more here: www.phaseone.com/p40.
For pricing and more information please contact a local Phase One dealer:
http://www.phaseone.com/Content/ContactUs/LocateDealer.aspx

Ricoh Singlex TLS

Ricoh Singlex TLS, dslr camera, digital camera


















Manufactured about 1967 by Ricoh Company Ltd. of Japan. A 35mm SLR, it used a universal screw mount Auto Rikenon 55mm f/1.4 lens and had TTL CdS match-needle metering. It has a metal, vertical travel focal-plane shutter capable of speeds from 1 sec to 1/1000 sec plus �B� (Bulb). The viewfinder screen had a center microprism focusing aid. To accommodate flash photography, it has a snap on accessory shoe (shown here) and the left end of the camera has both an �X� sync and a �M� sync PC flash connector. This example in chrome.

See also: www.butkus.org/chinon/ricoh

Nikon Nikkormat FTN

Nikon Nikkormat FTN, dslr camera, digital camera




















Nikon Nikkormat FTN
Manufactured about 1967 by Nippon Kogaku K.K. of Tokyo, Japan (better known as Nikon). The Nikkormat series of cameras originated as a lower-priced alternative to the Nikon F cameras. It used the same lenses, but didn�t take some of the �professional� accessories like interchangeable finders, motors, etc. Per McKeown�s Guide, �many professionals, particularly photojournalist, preferred the Nikkormats because of their smaller size and lighter weight.� While it never reached the �status symbol� the Nikon F did, it was still a well made camera and known to be rugged and reliable. The FTN used the Nikon bayonet mount lenses and offered center-weighted TTL metering. It has a vertical travel, metal focal-plane shutter with speeds from 1 second to 1/1000 of a second and �bulb.� Speeds and and over/under exposure indicator are visible through the finder and the meter has a needle indicator visible near the rewind knob on top. It has a self timer, mirror lockup and depth-of-field preview button. There is no hot shoe�no shoe at all, for that matter�but it does have both �X� and �M� PC contacts on the left side of the body.

The example shown here has a 50mm f/2.0 Nikkor-H Auto lens. The lens has flat front element which was unique for it�s day. For all you Nikon buffs, it is technically a �non-AI� but this designation wasn�t added until the AI lenses were introduced in 1977�

See also: www.mir.com.my/rb/photography/hardwares/classics/nikkorma...

Sears C-128 Super Eight Movie Camera























Sears C-128 Super Eight Movie Camera
Manufactured around 1975(?) for Sears, Roebuck and Co. of Chicago, Illinois. Model 459.91281, a type of generic �moden� Super8 movie camera of that day. It used a standard Super8 movie cartridge, had an automatic shutter (powered by a PX13 battery) and a battery driven (and constant speed of 18 fps) film advance motor (powered by two AA batteries in the handle). It featured an fixed focus lens with an amazing 2:1 zoom! To it�s credit, the optical viewfinder zoomed with the lens. A tungsten filter was automatically engaged when a movie light was attached to the socket on the top of the camera.
www.flickr.com/photos/captkodak
 
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