I think the best way to avoid drymounting is to print with a border, use tape to hold the print to a backing board, and cut an overmat. Cutting the overmat takes some time, so I don't know if that qualifies. Also, prints won't be absolutely flat as with dry mounting.

I belong to the dry mounting camp, personally. I see no reason not to do it, unless you are going to sell the prints to someone who wants them loose. If you want to change the mat in the future, just cut an overmat that crops out the mount board entirely. The only thing you lose is the "gutter," and only if there was one in the first place.

But for most of us to worry so much about the archival qualities of our prints is just silly, and sometimes bordering on arrogant, as long-term archival permanence is largely a concern with work of great monetary value and/or historical importance. I have crates of photos 80+ years old that have survived in cardboard boxes in garages, attics, dresser drawers, cheap sticky-paged photo albums with plastic overlays, etc. in the Southern CA heat, and they look great. After seeing this, and working at a museum exhibit preparation business editing and restoring historic photos, I am certainly not worried about anything I keep on a board in a frame or in a box indoors with relatively constant temperature and humidity. That is luxury living for a print compared to most. I have also seen lord knows how many "classic" and "vintage" dry mounted prints in apparently-perfect condition in museums and galleries. I would say that poor care and storage is going to be the end of a print, not whether or not it was dry mounted. My two cents...dry mount away.