It's interesting when a capable artist steps outside the area where they're known. The result is often a fresh slant on the new subject matter.
Let's look at what's good here, as one would expect from an experienced artist in any medium. Ciara is placed in pride of place, as she should be, and the profile view displays her lovely long legs to maximum effect. The bad guy is placed behind her, not only physically, but in subdued clothes which don't distract from the heroine's outfit or her predicament. He's still perfectly visible, however, so the composition makes sense; you can see what's going on.
The same applies to the lighting. The figures are isolated in a pool of light, leaving the question of what's in the darkness to the viewer's imagination. An excellent technique, and I should know, I've used it myself many times... Although there's one light source visible, there must be at least some reflected light since a pure backlight would leave much of the characters in shadow. Whatever fill-in exists has been deployed skilfully so that it isn't apparent until you start thinking about the scene in detail (and there are some faint shadows to support that).
As others have said, we don't know what the commissioner asked for; and I know from experience that fetish connoisseurs often have extremely precise obsessions, sometimes even mutually exclusive ones, which is one reason I avoid requests unless it happens to be something that I was going to do anyway. Because it's a commission I've given neutral scores for vision and originality.
That said, the picture's 'story logic' (to coin a phrase) seems somewhat awry to me. The bad guy's left hand is groping Ciara's boob in an invasive and yet offhand manner. On the other hand (pun intended) he's cradling her head in a quite tender way. At first glance I thought he was pulling her head back in preparation for a bout of villainous gloating, but rather it seems he's supporting her as she wakes up. And finally, his eyes are fixed not on her face (as if he was concerned for her welfare) or her body or legs (as if he had fiendish plans for his captive) but off-scene somewhere. Maybe this is part of the story - has somebody interrupted him? But in the context of this single image, the underlying story is not made clear; even if there isn't one, it could be implied.
Convincing ropework in 3D is an enormous challenge - personal experience speaking again... There's not only the complex details of the ropes themselves, but also their interaction with the prisoner. Character creation applications such as DAZ Studio and Poser, and the content that's available for them, are not set up to make these things easy. I believe you've chosen the camera angle to hide the cinching (or lack of it) between Ciara's leg and wrist bonds, which is a sensible decision in the circumstances. The thigh ropes in particular don't squeeze her flesh convincingly; another challenging detail. The ropes around her stomach do look good and tight, but why are they there? These, and the loops around her upper chest, don't seem to tie her to anything. This does allow her to hop free of the chair, if the story calls for it, but from what we can see here it seems like a mistake on the villain's part.
I don't want to exacerbate the clamour for more Torqual bondage, but I would like to see anything else you would care to show us. Do please ask for advice if you need it.