Boy, I thought I had some stuff to say, but a lot of great advice has already been covered. I'll do what I can.
Like some of the previous posters, I also see my comic as being animated in my head, so it's really just a matter of taking the most important shots and putting them on the page. And also as someone above mentioned, what you're boiling cinematography down to in comics is composition. It's sort of like a very detailed storyboard of an animated sequence, though you don't want to cram it with every change on screen.
Always start with what you want the focus of the panel to be. Then consider the secondary elements of the shot, and then the tertiary. Once you know what's most important in the shot, consider the tone of it. That will help you decide on an angle, but don't overdo it on dynamic angles. Like a story arc, dynamism in angles should have rising and falling intensity. Consider the emotional state of the character, as well, and the social play taking place in the scene.
A simple example:
If you have a character that is being condescended upon by another, the "obvious" way to handle it is to have the power character's head compositionally higher on screen than the victim, so to speak. Maybe have the victim sitting down and the power character standing up. The film Vertigo plays with this particular notion in one scene very well in how Jimmy Stewart's character moves around in an office with a man trying to hire him to spy on his wife. Lots of power inter-play there.
There are a lot of fantastic examples of composition posted in the above comments, but the three I would recommend the most are The Grand Budapest Hotel, Citizen Kane (of course), and just about anything by Stanley Kubrick (but my favorite is The Shining).
I think these three different films have a good variety of cinematography that will show you how tone, cinematography, and mise-en-scene work together to tell the story visually and not just narratively.
Finally, remember that dynamism doesn't just come from cinematography, it comes from color theory and tone (in the visual sense). Lighting is VERY important to tone, so when you go to do your shading and color, know what different types of lighting will do to the scene. High key lighting is used to create a fairly even tone in a scene--it's used often in sit-coms and comedic films. Low key lighting comes in many flavors, but it boils down to contrast. Low key generally means higher contrast, which translates often to drama. Then you've got the lighting angle, which also has a huge affect on tone. Your "cardinal directions" often provide the highest dramatic lighting: directly above, below, in front of, behind, or from either side. Any lighting that hits at a diagonal will feel a bit softer, depending on where it hits the composition.
Hope all that helps! Definitely look into what's been said above, there's a lot of great info. To simplify, look up:
- Cinematography
- Mise-en-scene (composition)
- Lighting (which is technically a part of mise-en-scene)