Most of the time, at least onscreen in the early films, we see the "tan" navigational-deflector whenever the ship appears to be in "standby"-mode (i.e., before the deflector gets "warmed up") -- for instance, in ST:TMP, we don't see the deflector turn blue until after the Enterprise has departed from the dockyards and is accelerating, but then in later movies, we see shots like the Enterprise-A in Spacedock seemingly at a standstill, but with the "blue" deflector already primed. It's inconsistent, and likely done for purely visual reasons, but I'm assuming that there's at least some in-universe technical reason behind it, too.
Sulu has deflector dish RGB sliders on his helm console.
I think one of the TNG Relaunch books has a scene with Geordi visiting one of his relatives in Africa.
Some parts of the novel Hollow Men take place in London, as I recall.
We see London onscreen in Star Trek Into Darkness, at the very beginning of the film, when "John Harrison" blackmails Thomas Harewood, etc. In the Litverse, London is mentioned as having gotten destroyed during World War III (per The Lost Era: The Sundered), but presumably later rebuilt.
With Geordi I think it was established on the show that ships and star bases are what he considers “home”, as his parents were in Starfleet and moved around a lot, and in some cases they were each assigned to different ships/bases.
But going back to TMP, the original theatrical version was never color timed, so we never saw the correct colours until the Director’s Edition, and its to bad that Paramount didn’t use the DE version of the theatrical cut for the Blu-Ray or HD versions as that’s the only part of the DE that was done at film resolution. So, when you look at the DE, the deflector and nacelles glow purplish-blue.
