In general I'd probably not be using an LDC and a dynamic together solely for stereo imaging purposes, but I guess that all depends on the type of stereo field you're going for. If you're going to be panning with a bias to one channel anyway, versus relatively equal on both channels, then you'd just experiment with placement with respect to your featured side. This might be with either the LDC or the dynamic at the hole with the other on the neck. LDC at or near the hole will give your a wider range, but be careful with this selection based on whether it's picked or fingered acoustic and where that action is happening in relation to your mic positioning.
If you want equal tone/timber on both channels, without double tracking, it certainly will make it easier to differentiate your two channels (and thus betray more width) by having two different types of microphones at two different positions, but you're going to bias to a side, and this will be the side where the mic is positioned closest to the hole unless you alter levels in such a way that they may become unnatural sounding together.
If no one was there to tell me I'm wrong, I would do it like this:
LDC around where the neck meets the body, adjusting to taste for tone, but facing more toward the fretboard assuming the polar pattern is cardoid, so that it rejects some of the high pitched strumming/picking while still picking up the lows coming from the hole and clearly hearing the higher freqs resonating from the strings along the fretboard. Distance away from the guitar to taste, but only as far away as you want to hear room vs instrument. Gain level matters here.
For the dynamic, I'd try placing it toward the other side of the hole, facing toward the guitar, at the same distance as the LDC but audition while turning toward the picking/strumming position until you're getting a mix of the hole and picking/strumming so that it levels out with the other mic. You might end up adjusting gain on this one, and maybe some EQ moves on the mixer if your positioning doesn't get you blending.
The idea is that you get a full range as possible on both sides while also trying to have similar freq ranges. It might be a little difficult given the mic choices, but you can do somewhat of a separation by virtue of mic placement and what each mic focuses on. Ideally you'll want a sense of fullness on both mics, and a sense of high end articulation as well. You have to decide which mics give you that at both positions that can be separated from one another with panning. But remember that if you're not doubling, your major saving grace for a stereo field is still difference between channels, so your goal is to focus your mikes on different aspects of the guitar in order to do that, while still sounding natural.
TL;DR: Experiment!