>>1305
I'm not that other anon.
When I make pictures, I'm, firstly, looking for neat compositions. I'm not necessarily looking for interesting things happening right now. If I find a good composition I can come back to it later and refine it, even if there is nothing I can make a subject out of at the moment. It also helps me in that constant quest to make a better composition by giving me practice.
After that I look for what I refer to as "actions," which are moments where an action of any description is taking place. This could include things like light, impermanent subjects like people, or other "happenings" that are otherwise displacing "the still world," which is very subjective to the scene or composition. Usually the still world includes the ground and/or buildings. Note that these things are decided in milliseconds in the subconscious part of my brain. I'm not actually thinking consciously when putting together an image, for the most part.
Then, if I haven't yet taken the picture, my consciousness kicks in and asks me "Why?" It's at this point where I decide whether or not to take the shot.
Note that the first two things can happen inversely; I can find a neat "action" to make a subject with, then I refine the composition. I like to default to the other way because it generally leads to a better approach where more thought is put into it.
When I approach a subject, I find that I stare at it intently, subconsciously visualizing the image in my head, as if my subconscious is "computing" the image and delivering it to the "screen," which is the conscious mind. I circle around it, ascend or descend viewpoints, get closer or further away. Some point during this I may circle around looking through the viewfinder to give my subconscious a better idea as to what the image should look like. I don't like to look through my viewfinder until right before the exposure.