Speaking only for myself, I've always had the best luck when, after adequate preparation during practice, I don't consciously try to do anything. My foot has to become aware by feel of exactly where the felt hits the steel, so to speak.
If I hear it sounds muddy or blurred, my foot lightens up on the pedal, or brings it closer to that point where the strings' vibration is only slightly inhibited by the felt. I then practice deliberately with a little less pedal, and if I like the sound, good.
Incompatible articulation-
Sometimes, in a certain passage, one hand has notes that must remain staccato, but the other, legato. In that case, if I can still get a legato effect without the pedal, good. If not, sometimes I have to compromise by playing the staccato hand over a light pedal, still giving the impression of disconnected, staccato notes.
